FROM   THE  LIBRARY  OF 
REV.   LOUIS    FITZGERALD    BENSON,  D.  D. 

BEQUEATHED   BY   HIM   TO 

THE   LIBRARY  OF 

PRINCETON  THEOLOGICAL  SEMINARY 


dccljo;" 


DICTIONARY 

OF 

MUSIC   AND   MUSICIANS 


GROVE'S  -^"^^'^^^^^^^ 


DICTIONARY  OF  MUSIC 
AND  MUSICIANS 


AMERICAN  SUPPLEMENT 

BEING  THE  SIXTH  VOLUME 
OF   THE    COMPLETE    WORK 


WALDO  SELDEN  PRATT 

EDITOR 

CHARLES  N.  BOYD 

ASSOCIATE  EDITOR 


THEODORE   PRESSER   COMPANY 

PHILADELPHIA,  PA. 

1920 


CoPTBiaHT,  1920, 
By  the  MACMILLAN  COMPANY. 


Set  up  and  electrotyped.    Published  November,  19a 


KotiDOOll    ^tt»t 

J.  S.  Gushing  Co.  —  Berwick  &  Smith  Co. 
Norwood,  Ms88.,  U.S.A. 


PREFACE 


The  project  of  this  volume,  when  proposed  by  The  Macmillan  Company  to  the 
Editor  whom  they  had  selected,  was  finally  taken  up  by  liim  only  with  great  hesita- 
tion, not  because  an  American  Supplement  to  the  existing  five  volumes  of  Grove's 
famous  Dictionary  of  Music  and  Musicians  was  not  most  desu'able,  but  because  of 
the  Inherent  difficulties  in  the  problem  of  making  it  satisfactory.  After  prolonged 
consultation  the  working-plan  adopted  was  recognized  as  not  so  much  a  'counsel  of 
perfection'  as  a  frank  adjustment  of  ideals  to  what  was  practical  within  the  Umits 
of  time,  space  and  scope  proposed. 

In  view  of  the  fact  that  a  work  of  this  sort  is  essentially  historical,  an  unusual 
arrangement  of  the  material  was  at  length  devised  as  useful  in  this  particular  case. 
The  volume  is  laid  out  in  two  distinct  divisions,  the  one  interlocking  more  or  less 
with  the  other.  The  first  division  consists  of  a  compact  Historical  Introduction, 
surveying  the  unique  environment  of  music  in  America  and  certain  peculiarities  in 
its  development,  combined  period  by  period  with  a  Chronological  Register,  indicating 
those  workers  who  seem  representative  of  the  spirit  and  effort  of  the  successive  stages 
of  progress.  The  second  division,  which  is  much  larger,  consists  of  specific  descrip- 
tive articles  about  leading  individuals,  organizations,  institutions  and  interests, 
arranged  in  the  customary  alphabetical  order.  In  tliis  division,  also,  a  great  number 
of  the  names  mentioned  elsewhere  are  catalogued  for  ease  of  reference. 

It  is  believed  that  this  twofold  presentation,  though  involving  some  duplication, 
has  definite  advantages.  The  Introduction  is  not  in  any  sense  a  formal  history  of 
American  music  as  such,  yet  it  provides  a  sketch  of  the  historic  framework,  of  both 
external  circumstances  and  of  internal  tendencies,  upon  which  alone  such  a  history 
can  properly  be  modeled.  In  connection  with  this  the  Register  affords  opportunity 
for  brief  reference  to  some  1700  persons,  representing  a  variety  of  interests,  some  of 
whom  have  not  often  been  remembered  or  even  catalogued.  The  descriptive  articles 
in  the  main  body  of  the  Dictionary  then  take  up  about  700  of  these  persons  for  more 
particular  treatment,  often  with  extensive  lists  of  their  works,  and  also  give  a  vast 
amount  of  information  about  numerous  enterprises  of  a  general  or  corporate  nature. 
The  aim  throughout  the  entire  volume  is  to  present  as  many  facts  as  possible  in  the 
clearest  manner,  so  as  to  make  them  accessible  for  reference,  but  to  avoid  the  expression 
of  critical  opinions  except  in  general  terms  or  in  quoted  form. 

y 


vi  PREFACE 

The  Editor  and  the  Associate  Editor  wish  to  express  their  great  obligation  to  the 
host  of  correspondents  who  have  coiu'teously  supphed  both  material  and  encourage- 
ment. They  can  only  regret  that  certain  lines  of  inquiry,  though  somewhat  earnestly 
pursued,  proved  surprisingly  fruitless,  so  that  many  topics  marked  for  inclusion,  at 
last  had  to  be  treated  superficially  or  omitted  altogether. 

Throughout  the  volume  the  words  'America'  and  'American'  are  often  used  of 
the  United  States  and  Canada  taken  together.  Canadian  musicians  are  here  counted 
with  those  of  the  United  States,  not  only  because  no  other  course  was  seemly  in  an 
American  extension  of  a  work  originally  published  in  Great  Britain,  but  also  because 
the  cordial  fraternity  in  musical  art  on  this  side  of  the  ocean  has  always  disregarded 
the  political  frontier  that  stretches  across  the  continent.  To  a  very  limited  extent, 
furthermore,  it  has  been  possible  to  include  some  representative  names  from  Central 
and  South  America.  In  the  Register  all  who  were  born  outside  of  the  United  States 
and  Canada,  whether  ih  Europe  or  in  other  parts  of  the  Americas,  are  designated 
by  a  special  sign. 

Inasmuch  as  the  latest  edition  of  Grove's  Dictionary  was  issued  ten  to  fifteen 
years  ago,  the  publishers  desired  that  this  volume  should  include  continuations  of 
those  articles  that  relate  to  the  more  conspicuous  foreign  musicians,  as  well  as  notices 
of  some  that  for  any  reason  were  previously  omitted.  Accordingly,  in  the  Dictionary 
proper  will  be  found  statements  regardi"ng  more  than  a  hundred  musicians  who  are 
entirely  outside  the  American  field.    All  these  articles  are  indicated  by  a  special  sign. 

Every  work  of  this  class  rests  largely  upon  its  predecessors  in  the  same  field,  as 
well  as  upon  other  literary  sources.  This  particular  volume  would  have  been  almost 
impossible  to  prepare  except  for  the  several  historical  studies  that  have  appeared 
regarding  American  music  and  musicians,  and  especially  without  the  invaluable 
material  gathered  in  works  like  Who's  Who  in  Music  (1918)  and  Baker's  Dictionary 
of  Musicians  (3rd  edition,  1919).  To  the  authors  and  editors  of  all  of  these  the  most 
hearty  acknowledgment  of  constant  indebtedness  is  due.* 

*  Books  that  have  been  specially  utilized  include  Jones,  Handbook  of  American  Music  and  Musicians 
(1886),  Mathews,  Hundred  Years  of  Music  in  America  (1889),  Ritter,  Music  in  America  (3rd  ed.,  1893),  Elson, 
History  of  American  Music  (2nd  ed.,  1915),  The  Art  of  Music,  Vol.  iv  (1916),  The  American  History  and  Ency- 
clopedia of  Music, Yo\.  on  American  Music  (1910),  articles  on  'Music'  in  The  International  Year-Book  (1907-19), 
Hughes,  American  Composers  (revised  ed.,  1915),  Sonneck,  Early  Concert-Life  in  America  (1907)  and  Early 
Opera  in  America  (1915),  Krehbiel,  Chapters  of  Opera  (1911)  and  More  Chapters  of  Opera  (1917), Upton,  Mustca/ 
Memories  (1918),  etc. 


LIST  OF   ILLUSTRATIONS 


PAGE 

Mrs.  H.  H.  A.  Beach 126 

Dudley  Buck 146 

Charles  Wakefield  Cadman  ..........  150 

Jonas  Chickering 160 

Leopold  Damrosch   ............  180 

Arthur  Foote 206 

Henry  Kimball  Hadley   ...........  230 

Rafael  Joseffy         258 

Edgar  Stillman  Kelley 260 

Henry  Edward  Krehbiel 264 

Charles  Martin  Loeffler      ..........  272 

William  Mason 286 

Lillian  Nordica 312 

Maud  Powell 330 

Oscar  G.  Sonneck    ............  364 

Bernhard  Ziehn        ............  410 


In  previous  volumes  of  the  Dictionary  will  be  found  also  portraits  of  Mme.  Albani,  George 
W.  Chadwick,  Clara  Louise  Kellogg,  the  Kneisel  Quartet,  Edward  A.  MacDowell, 
Christine  Nilsson,  John  K.  Paine,  Horatio  W.  Parker,  Anton  Seidl,  Marcella  Sembhich, 
Alexander  W.  Thayer,  Theodore  Thomas  and  Carl  Zerrahn. 


vii 


HISTORICAL  INTRODUCTION 

AND 

CHRONOLOGICAL    REGISTER 


INTRODUCTION   AND   REGISTER 


The  Century  of  Settlement 

The  Colonial  Century 

Register,  Sec.  1.  1700-1775 
Register,  Sec.  2.   1775-1800 

The  Era  of  National  Expansion 
Register,  Sec.  3.  1800-1840 
Register,  Sec.  4.   1840-1860 

The  Period  after  the  Civil  War 
Register,  Sec.  5.  1860-1870 
Register,  Sec.  6.  1870-1880 

The  Transition  about  1880 
Register,  Sec.   7.   1880-1890 
Register,  Sec.  8.  1890-1900 

The  Opening  of  the  20th  Century 
Register,  Sec.  9.  1900-1910 
Register,  Sec.  10.  1910-1920      . 


5 

7 
9 

12 
16 
21 

30 
37 
43 

51 
63 

66 

80 

88 

100 


Note.  The  cross-reference  'See  art.'  Indicates  that  a  more  extended 
notice  will  be  found  in  the  body  of  the  Dictionary.  The  larger  cities  of  the 
United  States  and  Canada  are  regularly  entered  without  naming  the  states  in 
which  they  lie. 

Persons  born  outside  of  the  United  States  or  Canada  are  indicated  by  *. 


HISTORICAL   INTRODUCTION 

WITH 

CHRONOLOGICAL   REGISTER  OF  NAMES 

The  history  of  music  in  America  is  decidedly  peculiar  in  many  of  its  aspects, 
owing  to  the  unusual  way  in  which  civilization  and  culture  have  here  been  estab- 
lished. Although  permanent  settlements  in  North  America  multiplied  from  about 
1600  and  the  independent  existence  of  the  United  States  is  counted  from  1776, 
musical  life  remained  quite  immature,  or  at  most  provincial,  until  after  1800. 
After  the  middle  of  the  19th  century,  however,  when  an  extensive  and  vital 
connection  with  the  progressive  artistic  culture  of  Europe  began  to  be  effected,  the 
rapidity,  variety  and  vigor  of  the  ensuing  advance  were  altogether  phenomenal. 
Developments  that  have  taken  centuries  were  then  crowded  into  decades  and 
elaborate  enterprises  often  took  shape  without  the  gradual  preparation  that  might 
have  been  expected. 

In  view  of  this,  a  compact  statement  is  here  presented  of  some  of  the  historic 
conditions  within  which  American  musical  progress  has  come  to  pass  and  of  its 
more  salient  features  from  period  to  period.  With  this  is  combined  at  each  suc- 
cessive stage  a  Register  of  the  persons  who  seem  to  have  been  representative  and 
influential,  taking  them  in  groups  by  the  time  when  they  entered  upon  pro- 
fessional activity.  It  is  believed  that  this  method  of  presentation  will  illuminate 
the  whole  evolution  and  be  a  guide  to  placing  various  matters  in  due  sequence 
and  relation. 

THE   CENTURY   OF   SETTLEMENT 

After  being  casually  and  vaguely  known  for  perhaps  five  hundred  years, 
America  was  formally  '  discovered '  in  1492  by  Colombo,  a  Genoese  navigator  sent 
out  by  the  court  of  Spain.  The  name  'America'  was  conferred  upon  it,  as  has 
been  picturesquely  remarked, '  by  an  obscure  German  professor  in  a  French  college 
after  another  Italian  [Amerigo  Vespucci]  in  the  service  of  Portugal.' 

'  The  New  World,'  as  it  was  generally  known  —  which,  by  the  way,  did  not 
originally  include  North  America  —  was  at  first  simply  an  object  for  romantic 
and  greedy  exploitation.  The  incursions  and  conquests  of  Spain  produced  noth- 
ing permanent  except  a  nominal  domination  over  Mexico  (from  1520)  and  the 
Pacific  Coast,  with  a  precarious  foothold  upon  the  peninsula  of  Florida,  where 
St.  Augustine  was  founded  in  1565.  The  effective  occupation  of  the  coast  of 
North  America  was  the  later  task  of  the  17th  century,  and  was  wrought  out  by 
other  nations. 

3 


4  HISTORICAL  INTRODUCTION 

In  1607  Jamestown  (Va.)  was  settled  by  about  a  hundred  adventurers  from 
England,  establishing  an  area  of  Cavalier  sympathies  which  ultimately  acquired 
the  popular  name  of  'The  Old  Dominion'  under  Charles  II.  At  the  same  time, 
far  to  the  north,  French  traders  and  missionaries  began  at  Quebec  (1608)  and 
Montreal  (1611)  to  lay  down  the  long  chain  of  frontier  posts  that  finally  stretched 
westward  to  the  Great  Lakes  and  thence  southward  down  the  Mississippi  Valley 
to  New  Orleans  (1718).  In  1613  the  Dutch  located  themselves  at  the  mouth  of  the 
Hudson  River,  where  New  York  now  is,  retaining  control  of  its  valley  and  of  some 
territory  east  and  west  of  it  until  ousted  by  the  English  in  1664.  In  1620  Plym- 
outh (Mass.)  was  founded  by  a  party  of  about  a  hundred  English  folk  (Separat- 
ists or  Independents),  commonly  called  'The  Pilgrims,'  because  their  migration  to 
America,  like  their  earlier  one  to  Holland,  was  to  escape  from  the  oppressive 
autocracy  of  the  Church  of  England.  In  1628-30  the  much  stronger  settlements 
at  Salem,  Cambridge  and  Boston  (Mass.),  not  many  miles  away,  were  begun  by 
perhaps  a  thousand  Puritans,  members  of  the  English  Church  who  desired  reform 
in  its  practice  and  spirit,  though  at  first  without  meaning  to  leave  it.  These 
Massachusetts  settlements  were  consolidated  under  one  government  in  1692. 
In  1632  English  Roman  Catholics  established  themselves  at  Baltimore  (Md.).  In 
1638  a  few  Swedes  were  pioneers  in  the  region  that  later  came  to  be  called  Dela- 
ware. In  1636-38  groups  breaking  away  from  Massachusetts  effected  the  settle- 
ment first  of  Providence  (R.  I.)  and  then  of  Hartford  and  New  Haven  (Conn.), 
the  last  two  being  consolidated  in  1662.  In  1670-80  similar  branch-colonies  from 
Virginia  pushed  southward  into  North  and  South  Carolina.  In  1681  came  the 
unique  and  influential  Quaker  settlement  of  Philadelphia  (Pa.).  It  was  not  till 
1733  that  the  series  of  primary  establishments  was  completed  by  the  founding  of 
Savannah  (Ga.),  originally  intended  to  be  a  refuge  for  English  prisoners  for  debt  or 
conscience,  but  early  utilized  also  by  refugees  from  intolerance  in  southern  Ger- 
many. To  all  these  centers,  with  their  outlying  dependencies,  a  gradually  increas- 
ing stream  of  additional  colonists  came  from  year  to  year. 

Out  of  the  several  grants,  patents  or  charters  from  the  English  Crown  with 
which  most  of  these  settlements  began  were  developed  the  distinct  administrations 
of  them  as  colonies.  These  were  the  autonomous  units  known  later  as  'The 
Thirteen  Original  States'  (New  Hampshire,  Massachusetts,  Rhode  Island,  Con- 
necticut, New  York,  New  Jersey,  Pennsylvania,  Delaware,  Maryland,  Virginia, 
North  Carolina,  South  Carolina,  Georgia),  the  federation  of  which  in  1781-88 
constituted  the  United  States. 

The  pioneer  conditions  of  the  whole  17th  century  were  manifestly  unconducive 
to  artistic  life.  Even  at  its  close  the  total  population  may  not  have  exceeded 
275,000  (including  many  negro  slaves),  sparsely  distributed  over  almost  a  thou- 
sand miles  of  coastland  —  a  distance  about  equal  to  that  from  London  to 
Budapest.  Large  towns  were  almost  wanting.  Even  Boston  in  1700  had  less 
than  7000  inhabitants.  The  several  colonies  were  as  yet  not  bound  together 
by  much  community  of  interest  or  sentiment,  and  their  social  habits  differed 
greatly. 


THE  COLONIAL  CENTURY  5 

What  records  there  are  of  this  early  period  are  strikingly  deficient  in  references 
to  music  or  instruments.  In  the  North  there  was  a  tendency  to  treat  the  art  as 
'  worldly '  and  hence  objectionable,  so  that  even  church-singing  became  curiously 
degenerate  because  unsupported  by  general  knowledge.  In  the  South  there  was 
probably  much  more  freedom  of  thought  and  practice,  though  exact  data  are 
wanting.  It  seems  that  at  first  none  of  the  colonists  possessed  any  special  taste 
or  aptitude  in  the  musical  field. 

THE   COLONIAL  CENTURY 

During  the  18th  century  the  total  population  grew  at  the  rate  of  about  one- 
third  in  every  decade,  so  that  in  1750  it  amounted  to  nearly  1,250,000  and  in  1800 
to  over  5,300,000,  of  which,  however,  about  one-sixth  were  slaves.  More  than 
90  per  cent  were  farmers.  The  occupied  territory  lay  close  to  the  Atlantic 
coast,  until  late  in  the  century  nowhere  reaching  inland  more  than  150  miles. 
Military  outposts  were  planted  here  and  there  at  more  distant  points,  but,  even 
allowing  for  these,  the  total  area  effectively  taken  up  by  the  English  colonies  can 
hardly  have  exceeded  250,000  square  miles.  By  1800  a  few  cities  had  attained 
considerable  size,  especially  Philadelphia  (69,400  inhabitants),  New  York  (60,500), 
Baltimore  (26,500),  Boston  (25,000)  and  Charleston  (20,500),  with  Salem,  New 
Orleans,  Providence,  Norfolk,  Newport,  Newbury  port,  Richmond,  Nantucket  ( !), 
Albany,  Hartford  and  Portsmouth  completing  the  list  of  large  towns  down  to  5000 
inhabitants. 

In  the  middle  of  the  century  (1754-63)  occurred  the  struggle  with  the  aggres- 
sive French  interests  in  Canada,  assisted  by  a  strong  Indian  alliance.  The  issue 
of  this  contest  settled  the  critical  point  that  not  only  Canada,  but  the  entire  basin 
of  the  Mississippi,  was  thenceforth  to  come  under  English  influence.  It  also  broke 
the  power  of  the  dangerous  Indian  confederacies.  Close  upon  this  followed  the 
controversies  with  England  that  culminated  in  the  War  of  Independence  (1775-83), 
by  which  for  the  first  time  all  the  colonies  were  drawn  into  virtual  union  as  a  na- 
tion. This  war,  however,  naturally  led  to  a  prolonged  period  of  discussion  and 
internal  readjustment.  Except  in  the  cities  and  large  towns,  conditions  were  still 
not  specially  favorable  for  much  cultural  advance. 

On  the  whole,  social  thought  and  customs  were  strongly  dominated  by  English 
influences.  The  sense  of  an  independent  destiny  awoke  only  late  in  the  period, 
when  also  appeared  a  new  sensitiveness  to  ideas  from  France,  due  in  part  to 
sympathy  received  in  the  American  Revolution  and  given  in  the  French  Revolu- 
tion. Although  there  was  as  yet  no  great  influx  of  immigration  from  Europe  and 
no  habit  of  foreign  travel,  commerce  with  England  was  steady  and  enterprising,  so 
that  not  only  commodities,  but  social  ideas  and  practices,  were  rather  promptly 
communicated,  at  least  to  the  main  ports  of  entry.  In  these  latter  centers  wealth 
and  leisure  had  increased  enough  to  create  a  demand  for  something  more  than 
small  diversions. 

It  is  not  strange,  therefore,  that  such  musical  entertainments  as  were  popular 
in  England  —  concerts  and  operas  of  the  ballad  or  song  type  —  should  have 


6  HISTORICAL  INTRODUCTION 

become  more  and  more  frequent.  The  performers  were  almost  wholly  visiting 
artists  from  abroad,  at  first  from  England,  but  after  1790  from  France  as  well. 
Many  of  these  remained  for  a  series  of  years  and  some  of  them  permanently.  Not 
a  few  represented  a  high  degree  of  knowledge  and  taste,  as  measured  by  the 
standards  of  the  day.  So  far  as  these  artists  became  known  they  undoubtedly 
exerted  a  positive  and  stimulating  artistic  influence.  In  certain  instances  we  know 
that  they  started  definite  currents  of  native  effort. 

Side  by  side  with  this  exotic  influence,  especially  in  New  England,  ran  a 
movement  for  the  improvement  of  congregational  singing  in  churches  which 
had  some  importance  and  which  continued  far  into  the  19th  century.  The 
absolute  artistic  results  were  slight,  but  the  awakening  of  social  interest  through 
'singing-schools'  under  peripatetic  leaders  and  through  the  multiplication  of 
song-manuals  foreshadowed  more  significant  undertakings  later.  (See  article 
on  Tune-Books.) 

Musical  instruments  slowly  became  noticeable  among  the  articles  of  importa- 
tion and  sale,  implying  an  increasing  interest  in  them  and  some  ability  to  use  them. 
This  developing  interest  led  also  to  the  first  steps  in  commercial  manufacture, 
giving  promise  of  the  remarkable  energy  that  was  displayed  in  the  early  19th 
century  in  making  pianos,  organs  and  some  stringed  instruments. 

Associations  for  the  promotion  and  practice  of  music  were  formed  here  and 
there,  indicating  an  instinctive  desire  to  make  it  a  substantial  factor  in  social  life. 

The  only  native-born  musician  of  distinction  was  Francis  Hopkinson.  But  the 
line  of  contributors  to  'psalmody'  was  well  established  before  1800. 

In  the  two  sections  of  the  Chronological  Register  that  are  here  inserted 
will  be  found  references  to  many  details,  personal  and  otherwise,  which  do  not 
lend  themselves  readily  to  summary  statement.  The  chief  purpose  of  these 
lists,  it  should  be  remembered,  is  to  record  a  fairly  large  number  of  persons 
who  are  known  to  have  had  some  importance  in  the  total  development,  to 
group  them  according  to  the  time  when  their  professional  work  seems  to  have 
begun,  and  in  each  case  to  indicate  in  a  few  words  the  place  and  character  of 
their  activities.  It  is  fully  recognized  that  such  lists  must  be  tentative  and 
provisional. 

Our  information  regarding  the  18th  century  is  fragmentary,  in  spite  of 
Sonneck's  invaluable  researches.  His  two  books,  Concert-Life  and  Early  Opera, 
refer  by  name  to  nearly  500  musicians  of  greater  or  less  degree,  of  whom 
about  one-fourth  appeared  prior  to  the  Revolution  and  the  remainder  in  the 
two  decades  after  it.  The  majority  of  them  were  only  visitors  and  exercised 
their  talents  only  in  those  few  centers  where  music  had  acquired  a  fashion- 
able vogue.  It  is  not  yet  clear  how  deep  and  lasting  was  their  artistic  impress. 
Their  total  repertory  was  extensive,  including  more  than  200  operas  and  other 
musical  plays,  a  great  variety  of  popular  songs,  usually  of  the  EngUsh  ballad 
type,  and  a  notable  array  of  instrumental  works  by  the  composers  who  were 
most  admired  before  the  time  when  Mozart  began  to  be  recognized.  From 
the  point  of  view  of  permanent  culture,  it  is  likely  that  the  standards  uncon- 
sciously established  by  the  instrumentalists,  either  by  public  performance  or 
through  teaching  of  pupils,  were  specially  important. 


1:  1700-1775]  CHRONOLOGICAL  REGISTER 

CHRONOLOGICAL  REGISTER 


1.   Before  the  Revolution,  1700-1775 

Note  .  Throughout  the  Register  the  persons 
named  are  entered  under  the  period  when  they 
apparently  began  professional  activity,  even 
though  this  activity  continued  and  increased 
later.  Those  foreign-born  are  entered  accord- 
ing to  the  dates  of  arrival  in  America,  and  are 
designated  by  a  *  before  their  names.  Such 
names  are  often  given  in  their  common  angli- 
cized form. 

All  those  who  are  separately  treated  in  the 
body  of  the  Dictionary  are  entered  briefly  in 
the  Register  in  their  proper  chronological  place, 
with  the  cross-reference  '  See  art.' 

For  ease  of  consultation,  the  dates  of  birth 
and  death  are  uniformly  printed  together,  with 
the  place  of  birth  preceding  and  the  place  of 
death  following. 

*Behrent,  John,  either  a  German  or  a  Swede, 
in  1775  made  in  Philadelphia  what  appears  to 
have  been  the  first  American  piano.  See  Spil- 
lane,  American  Pianoforte,  p.  76. 

*Beissel,  Johann  Conrad  (Palatinate,  1690- 
1768,  Ephrata,  Pa.),  was  an  odd,  but  gifted, 
mystic  who  in  1720  came  to  Germantown,  Pa., 
and  in  1735  founded  a  communistic  fraternity 
at  Ephrata  (about  50  miles  west  of  Philadel- 
phia), which  flourished  till  about  1800.  He  was 
a  well-trained  violinist.  Some  of  his  poems 
made  up  the  first  German  book  issued  in  Amer- 
ica (1730,  printed  by  Franklin).  This  book  was 
followed  by  a  curious  series  of  reprints  of  Ger- 
man hymn-books  and  new  collections,  edited  by 
various  hands  and  published  mainly  at  German- 
town  or  Ephrata  (at  least  30  Gesangbiicher 
and  similar  works  before  1800) . 

*Biferi,  Nicholas,  a  Neapolitan  harpsichord- 
ist, in  1775  gave  concerts  in  New  York,  having 
opened  a  school  for  music  and  dancing  in 
1774.  Sonneck  (Concert- Life,  p.  175)  queries 
whether  he  may  be  the  same  as  Francesco 
Biferi  (b.  1739?),  who  in  1770  issued  an  in- 
struction-book at  Paris. 

Billings,  William  (Boston,  1746-1800,  Bos- 
ton) ,  was  one  of  the  earliest  leaders  of  singing- 
schools  and  an  ambitious,  but  crude,  tune-com- 
poser.   See  Tune-Books  and  art. 

Brattle,  Thomas  (d.  1713,  Boston),  a  promi- 
nent Boston  merchant  who  imported  an  organ 
which  he  bequeathed  to  the  Brattle  Square 
Church,  but  whion,  there  refused,  went  to 
King's  Chapel.  In  1756  it  was  taken  to  New- 
buryport,  and  in  1836  to  St.  John's  in  Ports- 
mouth, N.  H.,  where  it  still  is.  See  Brooks, 
Olden-Time  Music,  p.  49,  Sonneck,  Concert-Life, 
p.  9,  and  '  New  Music  Review,'  May,  1902. 

*Bremner,  James  (d.  1780,  Philadelphia),  a 
relative  of  Robert  Bremner,  the  Edinburgh 
music-publisher,  came  to  Philadelphia  in  1763, 
opened  a  music-school,  was  Hopkinson's 
teacher,  played  the  organ  at  Christ  Church, 
and  did  much  to  promote  good  music.     See 


Sonneck,  Concert-Life,  pp.  66-70,  and  Hopkiri' 
son  and  Lyon. 

Bromfield,  Edward,  Jr.  (Boston,  1723-1746, 
Boston),  graduated  from  Harvard  in  1742  and 
is  said  soon  after  to  have  partially  constructed 
an  organ.     See  Brooks,  p.  32. 

*Dipper,  Thomas  (d.  1763?,  Jamaica),  an 
Englishman  who  in  1756-62  was  organist  at 
King's  Chapel,  Boston. 

*Douglass,  David  (d.  1786?,  Jamaica),  a 
capable  English  singer,  actor  and  manager, 
who  came  to  New  York  in  1758,  succeeded 
Hallam  as  head  of  the  American  Company 
(marrying  his  widow),  and  gave  plays  and 
operas  North  and  South  till  1775,  when  he  left 
for  Jamaica.  See  Sonneck,  Early  Opera,  pp. 
26-52. 

*Enstone,  Edward,  an  Englishman,  who 
from  1714  was  organist  at  King's  Chapel, 
Boston,  taught  music  and  dancing  and  sold 
various  instruments. 

Flagg,  Josiah  (Boston,  1738-1794,  Boston), 
issued  a  tune-book  in  1764  (engraved  by  Paul 
Revere),  gave  concerts  in  1769-71  and  organ- 
ized a  military  band.  See  Sonneck,  Concert- 
Life,  pp.  261-4,  and  Tune-Books. 

Franklin,  Benjamin  (Boston,  1706-1790, 
Philadelphia).  See  Vol.  ii.  103-4,  297-8,  and 
art. 

*Gualdo,  Giovanni,  an  Italian  who  in  1767 
came  to  Philadelphia  as  wine-dealer  and  music- 
teacher,  and  in  1769-71  gave  concerts,  includ- 
ing instrumental  works  of  his  own  (not  extant). 
See  Sonneck,  Concert-Life,  pp.  70-4. 

*Hallam,  a  family  of  English  actors  and 
singers  who  were  active  in  America  from  1753, 
when  Lewis  Hallam  (d.  1755,  Jamaica)  came 
as  manager  of  the  London  Company.  His 
widow  married  Douglass,  who  directed  the 
troupe  in  1758-74  under  the  names  American 
Company  and  Old  American  Company. 
Among  the  singers  after  1759  were  Lewis 
Hallam,  Jr.  (1741-1808)  and  his  sister,  both 
competent  artists.  The  former  returned  as 
manager  in  1784,  and  was  more  or  less  asso- 
ciated with  Henry  and  Hodgkinson  (see  sec.  2). 
See  Sonneck,  Early  Opera  and  Concert-Life. 

*Harman,  Catharine  Maria  (d.  1773),  a 
granddaughter  of  CoUey  Gibber,  was  a  light- 
opera  singer  in  the  American  Company  from 
1759,  as  was  also  her  husband. 

*Harrison,  Thomas,  an  Englishman  who 
was  organist  of  Trinity  Church,  New  York, 
probably  in  1753-64,  and  also  gave  concerts 
in  1769-70. 

*Hesselius,  Gustavus,  a  Swedish  organ- 
maker,  who  made  spinets  and  virginals  in 
Philadelphia  as  early  as  1742  —  apparently 
the  first  in  America. 

Hopkinson,  Francis  (Philadelphia,  1737- 
1791,  Philadelphia),  the  distinguished  lawyer 
and  publicist,  who  was  also  the  first  American 
composer  (from  1759).     See  art. 


8 


CHRONOLOGICAL  REGISTER 


[1:  1700-1775 


*Jacobi,  John  Owen,  an  organist  brought 
from  England  in  1736  by  Trinity  Church, 
Newport,  R.  I.,  to  play  the  organ  given  in  1733 
by  Bishop  Berkeley. 

Johnston,  Thomas  (d.  1768?),  in  1752  made 
an  organ  for  Christ  Church,  Boston,  and  in 
1754  one  for  St.  Peter's,  Salem.  The  latter  in 
1819  went  to  St.  Michael's,  Marblehead,  and 
finally  to  Hook  &  Hastings,  the  organ-builders. 
See  Brooks,  pp.  50,  65-6. 

*Juhan  [Joan],  James,  a  Frenchman  who 
was  in  Boston  in  1768-70  and  in  Charleston 
in  1771  as  teacher  of  French,  music  and  dan- 
cing, besides  tuning,  repairing  and  making  in- 
struments. In  1783  he  exhibited  at  Phila- 
delphia his  '  great  North  American  Forte 
Piano.'  Alexander  Juhan  (see  sec.  2)  was 
probably  his  son.  See  Sonneck,  Concert-Life, 
pp.  123-4,  264-5. 

*Klemm,  Johann  Gottlob  (Saxony,  1690- 
1762,  Bethlehem,  Pa.),  an  organ-maker  who 
came  to  Philadelphia  in  1736  and  worked  in 
New  York  in  1745-57.  About  1740  he  made 
the  first  American  organ  for  Trinity  Church, 
New  York.  See  Sonneck,  Concert-Life,  p.  169, 
and  references  there. 

*Knoetchel,  John  Ernest  (d.  1769),  was 
organist  of  Trinity  Church,  Newport,  R.  I., 
and  probably  the  father  of  another  there  in 
1774. 

Lyon,  James  (Newark,  1735-1794,  Machias, 
Me.),  a  contemporary  of  Hopkinson,  wrote  a 
graduation-ode  at  Princeton  in  1759,  and  issued 
the  tune-book  Urania  in  1761,  containing  some 
original  pieces.  See  Sonneck,  Hopkinson  and 
Lyon,  and  Tune-Books. 

♦Morris,  Owen  (1719-1809),  an  English 
actor-singer  in  Hallam's  Company  from  1759 
and  again  after  the  Revolution.  In  1792  he 
and  his  wife  joined  Wignell. 

*Pachelbel,  Charles  Theodore,  a  German 
in  Boston  who  in  1733  helped  erect  the  organ 
in  Trinity  Church,  Newport,  became  organist 
there,  and  in  1736-37  gave  concerts  in  New 
York  and  Charleston.  See  Sonneck,  Concert- 
Life,  pp.  13,  158,  317. 

*Pelham,  Peter,  Jr.  (b.  England,  1721),  the 
son  of  an  engraver  and  teacher  in  Boston  and 
musically  trained  from  boyhood  (probably  in 
England),  set  out  as  music-teacher  in  Boston 
in  1743.  In  1768  he  was  harpsichordist  for  an 
operatic  troupe  in  Virginia. 

*Propert,  David,  at  first  a  music-teacher  in 
New  York,  moved  to  Boston  in  1770  and  from 
1771  was  organist  at  Trinity  Church.  He 
organized  concerts  in  1773-74  and  was  still 
active  in  1789. 

*Rice,  John,  an  Englishman,  from  1744 
was  organist  at  Trinity  Church,  New  York, 
and  from  1753  at  Trinity  Church,  Boston. 
See  Sonneck,  Concert-Life,  pp.  159,  169,  254. 

*Selby,  William  (England,  1738-1798,  Bos- 
ton), from  1771  an  influential  player  and  com- 
poser in  Boston.     See  art. 

■^Storer,  Maria  (d.  1795,  Philadelphia),  a 
talented  English  actress  and  singer,  in   1768 


came  to  New  York  with  Hallam  and  had  great 
popularity  till  1794.  In  1787  she  married 
the  singer  and  manager  John  Henry  (d.  1795). 
Her  sister  Fanny  was  also  a  favorite.  See 
Sonneck,  Early  Opera  and  Concert-Life. 

*Tuckey,  William  (England,  1708-1781, 
Philadelphia),  from  1753  organist  of  Trinity 
Church,  New  York,  and  an  enterprising  pro- 
moter of  musical  interest.     See  art. 

*VaIton,  Peter,  from  1764  organist  at  St. 
Philip's,  Charleston,  and  for  some  years  a  prom- 
inent teacher,  concert-giver  and  dealer  in  in- 
struments, besides  writing  a  set  of  harpsichord- 
sonatas.  See  Sonneck,  Concert-Life,  pp.  15-6, 
21. 

*Wainwright,  Miss,  an  excellent  English 
actress-singer  (probably  a  pupil  of  Dr.  Arne) 
who  appeared  in  Charleston  and  New  York 
in  1765-69. 

*Woolls,  Stephen  (d.  1799),  another  fine 
English  stage-singer  (also  one  of  Arne's  pupils) 
who  appeared  frequently  before  and  after  the 
Revolution.  See  Sonneck,  Early  Opera  and 
Concert-Life. 

*Yarnold,  Benjamin,  organist  in  Charleston, 
from  1753  at  St.  Philip's  and  from  1764  at  St. 
Mary's. 

*Zimmerman,  Matthias,  of  Philadelphia,  in 
1737  bequeathed  an  organ  that  he  himself  had 
made.  This  seems  to  antedate  the  one  made 
by  Klemm  (see  above),  but  the  record  is  not 
quite  clear.     See  Spillane,  p.  47. 


Sonneck  has  found  presumable  references 
to  plays  in  1703  at  Charleston  and  New  York 
(Tony  Aston),  in  1718  at  Williamsburg,  Va., 
and  in  1749  at  Philadelphia,  besides  a  possible 
concert  in  1733  at  New  York.  The  earliest 
musical  entertainments  for  which  definite  data 
are  now  at  hand  at  various  places  are  as  fol- 
lows: 

1731  Boston  —  at  Pelham'a  Great  Room. 

1732  Charleston  —  by  John  Salter. 
1736     New  York  —  by  C.  T.  Pachelbel. 
1744     Bethlehem  —  by  the  Collegium  Musi- 

cum.^ 

1750  Philadelphia  —  by  the  Kean-Murray 

Company. 

1751  Williamsburg  —  by  the  Kean-Murray 

Company. 

1752  Annapolis  —  by     the     Kean-Murray 

Company. 

1761  Newport  —  by  the  Douglass  (Hallam) 

Company. 

1762  Providence  —  by  the  Douglass  (Hal- 

lam) Company. 
1766     Savannah  —  by  John  Stevens,  Jr. 
1774     Princeton  —  by  Hoar,  of  New  York. 

1  At  the  famous  Moravian  settlement  at  Bethle- 
hem, Pa.,  in  1741,  under  the  lead  of  Count  Zinzendorf 
(1700-1760),  singing  and  instruments  were  early 
prominent.  In  1744  a  society  for  cultivating  music 
was  formed,  led  by  Rev.  J.  C.  Pyrlaeus  and  later  by 
J.  E.  Westmann,  which  was  the  forerunner  of  the 
present  Bach  Choir.  The  first  spinet  was  imported 
in  1744,  a  small  organ  set  up  by  Klemm  in  1746  and 
a  larger  one  in  1751,  and  trombones  were  introduced 
in  1754.     See  Walters,  Bethlehem  Bach  Choir,  pp.  9  2. 


2:  1775-1800] 


CHRONOLOGICAL  REGISTER 


2.  After  the  Revolution,  1775-1800 

Adgate,  Andrew  (d.  1793,  Philadelphia), 
from  1784  was  a  promoter  of  psalmody  in 
Philadelphia  and  in  1787  founded  the  Uranian 
Academy.     See  art.  and  Tune-Books. 

*Albrecht,  Charles,  in  1789  a  piano-maker 
in  Philadelphia,  succeeded  in  1825  by  Christian 
F.  L.  Albrecht  (son?),  who  in  1842  sold  out  to 
Blasius  &  Son. 

*Arnold,  Mrs.,  an  English  singer,  prominent 
in  concerts  and  plays  from  1796.  She  married 
a  Mr.  Tubbs  in  that  year. 

*Bentley,  John,  an  English  harpsichordist, 
in  1783-85  managed  concert-series  in  Phila- 
delphia, and  from  1785  led  the  orchestra  of  the 
Old  American  Company  in  New  York  and  else- 
where. In  1785  he  '  selected  and  composed  ' 
music  for  three  pantomimes,  including  '  The 
Touchstone.' 

*Bergmann,  B.,  a  violinist  who  in  1792  came 
from  England  to  New  York,  appearing  as  solo- 
ist and  in  quartet,  and  was  later  heard  at 
Boston  and  Charleston,  where  in  1795  he 
drafted  accompaniments  for  Storace's  '  The 
Doctor  and  the  Apothecary.' 

*Berkenhead,  John  L.,  a  blind  organist  and 
pianist,  in  1795  gave  concerts  in  Boston  and  in 
1796-1804  was  organist  at  Trinity  Church, 
Newport. 

*Boullay,  Louis,  a  French  violinist  who  from 
1793  appeared  often,  especially  in  New  York 
and  Philadelphia. 

*Broadhurst,  Miss,  a  brilliant  English  so- 
prano, from  1794  was  a  leading  artist  in  the 
Wignell-Reinagle  Company,  though  then  not 
yet  twenty. 

*Brown,  William,  from  1783  a  prominent 
flutist  at  various  places.  In  Philadelphia  he 
was  associated  with  Reinagle,  and  in  1785 
organized  concerts  in  New  York.  In  1787  he 
dedicated  three  rondos  to  Hopkinson.  See 
Sonneck,  Concert-Life,  p.  185,  etc. 

*Capron,  Henri,  a  French  'cellist  (pupil  of 
Gavinies)  who  had  played  in  Paris  since  1768, 
from  1786  was  active  in  Philadelphia,  New 
York  and  elsewhere.  He  figured  also  as  singer, 
guitarist,  teacher  and  composer.  See  Sonneck, 
Concert-Life,  especially  as  to  his  quarrel  with 
Brown. 

*Carr,  Benjamin  (England,  1769-1831,  Phil- 
adelphia), from  1793  conspicuous  in  Philadel- 
phia as  singer,  pianist,  organist  and  composer. 
See  art. 

Crehore,  Benjamin  (d.  1819,  Milton,  Mass.), 
became  widely  known  from  1785  as  maker  of 
'cellos  and  basses  at  Milton.  In  1792  he  also 
made  improved  harpsichords  and  towards  1800 
pianos  as  well.  He  taught  Osborn  and  the 
Babcocks  (see  sec.  3).     See  Spillane,  pp.  50-6. 

*Darley,  William,  an  English  singer,  promi- 
nent in  the  Wignell-Reinagle  Company  from 
1793  and  in  concerts.  His  wife  and  son  also 
were  singers. 

*Demarque,  a  French  'cellist,  and  his  wife, 
a  singer,   were  active  from   1793.       He  also 


played  the  violin,  compiled  pantomimes  and 
wrote  for  the  'cello. 

*D'Hemard,  Mme.,  a  French  refugee  who, 
though  an  amateur,  was  from  1795  a  popular 
harpist. 

*Douvillier,  M.  and  Mme.,  French  opera- 
singers  who  from  1793  appeared  in  leading 
roles  in  Boston  and  Charleston. 

*Dubois,  a  French  clarinettist,  active  from 
1795.     He  also  sang  in  opera  and  composed. 

*Foucard,  another  French  clarinettist,  ap- 
peared from  1793. 

*Francis,  William  (England,  1763-1827) 
and  his  wife  from  1794  were  useful  members  of 
the  Wignell-Reinagle  Company.  They  were 
specially  good  as  dancers  and  pantomimists. 

*Gehot,  Jean  (b.  Belgium,  1756?),  a  compe- 
tent violinist,  known  in  Europe  since  1780, 
who  in  1792  came  to  Philadelphia.  He  was  a 
fertile  composer,  among  his  works  being  an 
overture  in  twelve  movements  'expressive  of 
a  voyage  from  England  to  America ' !  See 
Sonneck,  Concert-Life,  pp.  191,  230-1,  etc. 

*Gilfert,  George,  from  1786  a  music-dealer 
in  New  York  and  publisher  of  a  '  Musical 
Magazine,'  besides  being  in  1789-91  head  of  the 
Musical  Society  and  playing  the  viola  some- 
what at  concerts. 

*Gillingham,  George,  a  superior  English 
violinist  (in  the  band  at  the  Handel  Commemo- 
ration of  1784)  who  from  1794  for  over  thirty 
years  was  a  leading  player  in  Philadelphia  and 
New  York.  See  Sonneck,  Concert-Life,  p.  54, 
etc.,  and  note  concert  in  Boston  in  1836  by 
three  Misses  Gillingham,  Brooks,  p.  176. 

*Graupner,  Johann  Christian  Gottlieb  (Han- 
over, 1767-1836,  Boston),  an  experienced 
oboist,  who  in  1792  came  to  America,  in  1795 
appeared  in  Charleston  and  from  1797  was  in- 
fluential in  Boston.     See  art. 

*Hewitt,  James  (England,  1770-1827,  New 
York),  in  1792  came  to  New  York,  where  he 
was  long  an  important  violinist,  composer  and 
publisher.     See  art. 

*Hodgkinson,  John  (England,  1767-1805, 
Washington),  and  his  wife  (nee  Brett)  from 
1792  were  popular  and  influential  singers  in 
New  York.     See  art. 

Holden,  Oliver  (Shirley,  Mass.,  1765-1834?, 
Charlestown,  Mass.),  a  carpenter  who  by  1792 
took  up  music-teaching  and  compiling  tunes 
(see  Tune-Books)  with  much  success.  His 
organ  is  in  the  Old  State  House  at  Boston  (see 
cut  in  Fisher,  Music  in  Old  Boston,  pp.  13-4). 

Holyoke,  Samuel  Adams  (Boxford,  Mass., 
1762-1820,  Concord,  N.  H.i),  studied  at  Dart- 
mouth and  became  a  teacher  of  psalmody  (see 
Tune-Books),  from  about  1800  living  in  Salem, 
where  in  1805  he  led  an  Instrumental  Club  and 
in  1808-09  gave  choral  concerts. 

*Jackson,  George  K.  (England,  1745-1823, 
Boston) ,  having  been  a  choir-boy  in  the  Chapel 
Royal  and  also  teacher  and  author  of  harmony 
text-books,  in  1796  came  to  Norfolk  and  taught 

1  Dates  from  Nason,  Gazetteer  of  Massachusetts, 
1876,  p.  120. 


10 


CHRONOLOGICAL  REGISTER 


[2:  1775-1800 


successively  there  and  in  Alexandria,  Balti- 
more, Philadelphia  and  New  York,  settling  in 
1812  in  Boston  as  organist  in  turn  at  Brattle 
Street,  King's,  Trinity  and  St.  John's.  He 
promoted  choral  concerts  and  published  some 
church-music.     See  Tune-Books. 

*Juhan  (Joan),  Alexander,  a  French  violin- 
ist (perhaps  sen  of  James  Juhan  named  in  sec. 
1)  who  was  an  able  concert-player  in  Philadel- 
phia from  1783  or  '86. 

*Kenna,  J.,  and  his  wife,  English  actor- 
singers  who  from  1788  gave  plays  in  the  South 
and  at  Philadelphia  with  a  troupe  for  a  time 
known  as  the  New  Americans. 

Law,  Andrew  (Cheshire,  Conn.,  1748-1821, 
Cheshire) ,  one  of  the  pioneers  in  psalmody  and 
from  1778  indefatigable  as  teacher  and  com- 
piler.    See  Tune-Books. 

*Mallet,  Francis,  a  Frenchman  who  probably 
came  to  America  in  1777.  After  varied  con- 
certizing  he  settled  in  Boston  not  later  than 
1793.  He  was  singer,  organist,  player  on 
other  instruments,  teacher  and  publisher. 
Two  daughters  became  well-known  musicians 
at  Salem.  See  Sonneck,  Concert-Life,  p.  291, 
etc.,  and  Brooks,  pp.  165-7,  226,  248,  etc. 

*Marshall,  Mr.  and  Mrs.,  able  and  poptdar 
English  singers  and  actors  who  appeared 
variously  from  1793.  Marshall  returned  to 
England  in  1801,  and  his  wife  later  became  Mrs. 
Wilmoth. 

*Moller,  John  Christopher,  presumably  a 
German  (works  of  J.  C.  MoUer  are  listed  by 
Eitner),  from  1790  was  active  at  New  York 
and  Philadelphia  as  pianist,  organist,  violist 
and  harmonica-player.  His  daughter  was  also 
singer  and  pianist. 

*01dmixon,  Mrs.,  n6e  George  (England, 
1768-  ?,  Philadelphia),  a  highly  gifted  soprano 
who,  after  brilliant  success  in  England,  some- 
what in  rivalry  with  Mrs.  Billington,  came  to 
America  in  1793  as  the  leading  artist  of  the 
period.  She  finally  settled  in  Philadelphia, 
opening  a  girls'  school.  Her  husband,  whom 
she  married  about  1790,  was  Sir  John  Old- 
mixon,  well  known  in  London  smart  society. 

*Pelissier,  Victor,  a  French  hornist  who 
from  1792  was  not  only  popular  as  player,  but 
skillful  in  composing  and  arranging  accompa- 
niments or  incidental  music  for  at  least  18 
plays  in  New  York,  mostly  in  1794-96.  See 
Sonneck,  '  Early  American  Operas,'  I.  M.  G. 
Sa?nmelbde.  6.  475. 

*Petit,  a  French  violinist  who  from  1793 
played  much  in  concert  in  both  the  North 
and  the  South. 

*Phile,  Philip,  a  violinist  who  from  1784  was 
often  heard  in  New  York  and  Philadelphia. 
He  may  have  composed  '  The  President's 
March  '  in  1789  to  which  in  1798  '  Hail,  Colum- 
bia '  was  fitted  by  Joseph  Hopkinson  (1770- 
1842).  See  Sonneck,  Reports  on  '  Hail,  Colum- 
bia,' 'Yankee  Doodle,'  etc.,  and  Elson,  Ameri- 
can Music,  pp.  147-53. 

*Pownall,  Mrs.  (d.  1796,  Charleston),  a 
superior   English   actress   and   singer    (earlier 


known  as  Mrs.  Wrighten  —  see  Vol.  v.  570  — 
and  a  Vauxhall  favorite  from  about  1770),  in 
1792  came  to  Boston  and  at  once  became  popu- 
lar there  and  elsewhere.  See  Sonneck,  Con- 
cert-Life,  p.  36,  etc. 

*Priest,  William,  an  English  bassoonist  and 
trumpeter  who  from  1793  was  heard  in  concert 
and  opera.  He  published  Travels  in  the  United 
States,  1793-97,  London,  1802.  See  Sonneck, 
Concert-Life,  p.  156,  etc.,  and  Early  Opera,  the 
latter  showing  him  still  active  in  1799. 

*Rausch,  Frederick,  from  1793  a  pianist  in 
New  York,  and  in  1799  vice-president  of  the 
St.  Cecilia  Society. 

Read,  Daniel  (Rehoboth,  Mass.,  1757-1836, 
New  Haven) ,  by  trade  a  comb-maker  or  ivory- 
worker,  was  from  1785  an  industrious  contrib- 
utor to  psalmody.      See  Tune-Books. 

*Reinagle,  Alexander  (England,  1756-1809, 
Baltimore),  from  1786  the  leading  musician 
of  Philadelphia,  as  well  as  prominent  in  New 
York.     See  Vol.  iv.  57,  and  art. 

*Saliment,  George  Edward,  a  flutist  much  in 
evidence  in  New  York  concerts  in  1791-1800. 

*Schaffer  [Scheffer],  Francis  C,  from  1796 
a  clarinettist  in  Boston.  He  also  claimed  to 
have  invented  the  '  spiccato,'  the  nature  of 
which  is  not  clear. 

*Schetky,  George  (d.  1831,  Philadelphia),  a 
Scot,  nephew  of  Reinagle,  who  in  1787  came  to 
Philadelphia  and,  but  for  short  visits  to  Eng- 
land, remained  identified  with  musical  inter- 
ests there.  He  was  a  good  'cellist,  singer  and 
arranger.  He  was  intimate  with  Carr  and  J.  C. 
Taws,  and  joined  with  them  in  starting  the 
Musical  Fund  Society  in  1820.  See  Madeira, 
Music  in  Philadelphia. 

*Stone,  a  flutist,  oboist  and  clarinettist  who 
flourished  in  Boston  from  1793. 

*Sully,  Mrs.,  an  English  pianist  often  heard 
from  1794.  She  and  her  husband  and  daugh- 
ter were  also  actor-singers. 

Swan,  Timothy  (Worcester,  Mass.,  1758- 
1842,Northfield,  Mass.),  began  teaching  psalm- 
ody about  1775  and  from  1785  published  tune- 
collections  (see  Tune-Books).  Elson,  Amer- 
ican Music,  p.  22,  places  his  birth  in  1757  at 
SufSeld,  Conn. 

*Taws,  Charles  (d.  1833?,  Philadelphia),  a 
Scottish  piano-maker  who  in  1786  came  to 
New  York  and  in  1788  went  to  Philadelphia, 
where  he  began  making  pianos  before  1795, 
was  associated  with  Reinagle  and,  with  his 
eons,  held  in  much  esteem.  See  Spillane,  pp. 
78-80. 

*Taylor,  Raynor  (England,  1747-1825,  Phila- 
delphia), a  gifted  singer,  organist  and  com- 
poser, from  1793  ihfluential  in  Philadelphia. 
See  art. 

Thomas,  Isaiah  (Boston,  1749-1831,  Worces- 
ter), early  noted  as  printer,  editor  and  pub- 
lisher, first  at  Boston  and  from  1775  at  Worces- 
ter. In  1785  he  advertised  music-printing 
from  type  (see  Fisher,  Music  in  Old  Boston, 
p.  14),  and  in  1786  issued  the  successful 
Worcester  Collection  (see  Tune-Books).     From 


2:  1775-1800] 


CHRONOLOGICAL  REGISTER 


11 


1770  he  was  proprietor  of  '  The  Massachusetts 
Spy  '  and  other  periodicals,  a  leading  publisher 
and  also  author  of  a  History  of  Printing,  1810. 
He  founded  and  endowed  the  noted  American 
Antiquarian  Society  of  Worcester. 

*TyIer,  a  good  English  actor  and  singer, 
popular  from  1793. 

♦Van  Hagen,  Peter  Albrecht  (d.  1800?,  New 
York),  a  Dutch  violinist,  pianist  and  manager 
who  in  1774  came  to  Charleston  and  was  later 
in  Philadelphia  and  New  York.     See  art. 

*Van  Vleck,  Jacob,  was  noted  as  organist 
and  composer  among  the  Moravians  at  Bethle- 
hem, Pa.,  from  about  1780.     See  Walters,  p.  12. 

*West,  J.,  an  actor-singer  who,  after  thirty 
years'  experience  in  England,  from  about  1790 
wa«  with  Bignall  in  the  Virginia  Company  of 
Comedians.  In  1792  he  built  a  notable  theater 
at  Charleston.     His  wife  was  also  a  singer. 

*Westray,  the  Misses  (three),  versatile 
English  stage-singers  who  first  appeared  at  the 
new  Haymarket  Theater  in  Boston  in  1796. 

♦Wignell,  Thomas  (d.  1803),  a  brilliant  Eng- 
lish actor  and  singer  who  from  1785  was  with 
the  Old  American  Company  and  from  1792, 
after  much  success  in  New  York,  joined  Rei- 
nagle  in  Philadelphia  in  starting  the  famous 
Chestnut  Street  Theater  (opened  in  1794)  and 
in  giving  plays  and  concerts  there  and  in  New 
York,  Baltimore  and  Washington.  See  Son- 
neck,  Early  Opera. 

*WoIff,  A.,  a  clarinettist  widely  known  from 
1786,  especially  in  concert. 

*Young,  William,  an  English  flutist  who 
appeared  in  Philadelphia  in  1787. 


Continuing  the  list  given  in  sec.  1,  note  that 
the  earhest  concerts  or  operas  thus  far  identi- 
fied in  several  other  places  are  as  follows : 

1783  Salem  —  by  the  Massachusetts  Band. 

1783  Portsmouth  —  by  an  artillery  band. 

1785  Albany  —  by  an  operatic  troupe. 

1786  Richmond  —  by  the  American  Com- 

pany. 

1791  New  Orleans  —  by  French  comedians 
from  San  Domingo. 

1791  New  London  —  by  Mrs.  Solomon's 
troupe. 

1793  Alexandria  —  by  '  an  unfortunate  emi- 
grant.' 

1793  Norfolk— by  the  West-Bignall  troupe. 

1794  Hartford  —  by   the   American    Com- 

pany. 

1795  Petersburg  —  by  Mrs.  Sully  and  Mrs. 

Pick. 


1796 
1797 


1798 


Portland  —  by  Mrs.  Tubbs  (Arnold). 
Newark  —  by      the]      West-Bignall 

troupe. 
Trenton   and    New   Brunswick  —  by 

D.  Salter. 

Organizations  for  promoting  or  performing 
music  doubtless  became  somewhat  common 
before  1800,  though  many  were  short-lived  and 
of  shadowy  influence.  Below  is  a  list  of  names 
and  dates,  mostly  collated  from  Sonneck, 
Concert-Life : 

1744  Collegium  Musicum,  Bethlehem. 

1759  Orpheus  Club,  Philadelphia. 

1762-1-  St.  Coecilia  (sic)  Society,  Charles- 
ton. 

1772  Orphaeus  Society,  Charleston. 

1773-4         Harmonic  Society,  New  York. 

1782  Aretinian  Society,  Boston. 

1784 -H  Uranian  Society,  Philadelphia. 

1785-9?       Musical  Society,  Boston. 

1786 -f  Musical  Society,  Stoughton, 
Mass. 

1786  Society     for     Promoting     Vocal 

Music,  New  York. 

1788-94  Musical  Society  (sacred),  New 
York. 

1789  Independent     Musical     Society, 

Boston. 

1791  Amateur  Society,  Charleston. 

1791-9         St.  Cecilia  Society,  New  York. 

1793  St.  Csecilia  Society,  Newport. 
?  1793-8?     Uranian  Society,  New  York. 

1794  Harmonic  Society,  Charleston. 
1795-1800?  Columbian  Anacreontic  Society, 

New  York. 

1795  Society  of  the  Sons  of  Apollo, 

Boston. 
1796-9         Harmonical  Society,  New  York. 
1797  Essex  Musical  Association,  New- 

buryport. 
1797?  Musical  Society,  Concord,  N.H. 

1798-9  Polyhymnian  Society,  New  York. 
1799  +  Philharmonic  Society,  New  York. 
1799  Musical  Society,  Baltimore. 

1799  Philharmonic  Society,  Boston. 

1800+         Euterpean  Society,  New  York. 

No  doubt,  many  of  these  were  merely  tran- 
sient social  clubs,  but  they  are  nevertheless  signs 
of  the  time.  Probably  there  were  many  more, 
some  of  them,  like  the  noted  Stoughton  Society, 
growing  out  of  '  singing-schools.' 

Ritter  (Music  in  America,  oh.  vii)  empha- 
sizes an  '  Apollo  Society  '  as  '  foremost '  among 
early  New  York  societies,  but  his  data  are  not 
identifiable. 


12  HISTORICAL  INTRODUCTION 


THE   ERA   OF  NATIONAL  EXPANSION 


The  development  of  the  United  States  during  the  first  two-thirds  of  the  19th 
century  is  much  too  compUcated  to  be  summarized  in  a  sketch  hke  the  present. 
But  among  the  enormous  changes  in  the  body  poHtic,  social  and  intellectual, 
between  1800  and  the  Civil  War  a  few  major  points  require  mention. 

Although  the  United  States  assumed  the  form  of  a  nation  at  the  time  of  the 
Revolution,  a  truly  'national'  feeling  and  spirit  were  hardly  attained  until  after 
the  second  war  with  England  in  1812-14.  That  a  knitting  together  of  the  elements 
of  the  confederation  then  took  place  cannot  be  denied.  And  yet  the  interests  of 
different  sections  remained  so  diverse  and  their  views  of  internal  policy  so  opposed 
that  many  of  their  relations  continued  difficult.  Indeed,  the  period  culminated  in 
the  strenuous  and  exhausting  Civil  War  of  1861-65.  Along  with  these  divisive 
influences,  however,  ran  movements  that  were  constructive  in  the  highest  degree. 

Until  after  1770  the  population  had  been  mainly  limited  to  what  is  now  called 
the  Atlantic  Division  of  the  country — the  section  east  of  the  long  Appalachian 
Range.  But  from  thence  on  settlers  began  to  cross  the  hills  in  force  into  the 
East  Central  Division  —  the  section  west  of  the  Appalachians  and  east  of  the 
Mississippi.  The  march  of  this  expansion  is  registered  by  the  dates  at  which 
nine  new  'Territories'  were  successively  recognized  in  this  region.^  All  these 
were  admitted  to  equality  with  the  original  thirteen  as  'States'  before  1848. 

Soon  after  1800,  by  the  Louisiana  Purchase  in  1803  and  then  by  cessions  from 
Spain  and  Mexico,  the  door  was  opened  wide  into  the  West  Central  Division  — 
the  section  west  of  the  Mississippi,  but  east  of  the  Rocky  Mountains.  Into  this 
soon  poured  a  veritable  flood  of  migration,  which  did  not  pause  until  presently  it 
had  pressed  on  through  the  Mountain  Division  that  lay  beyond  the  Great  Plains 
and  reached  the  Pacific  Division  beyond  the  mountains.  Thus  within  the  space 
of  a  few  decades  the  national  domain  was  extended  clear  across  the  continent.^ 

The  process  thus  sketched  increased  the  area  of  the  United  States  at  least 
sixfold,  so  that  it  included  more  than  3,000,000  square  miles  or  nearly  as  much  as 
the  whole  of  Europe.^  The  penetration  of  this  vast  domain  by  settlers  proceeded 
without  much  system  and  very  unequally.  But  the  rapidity  of  occupation  and  its 
total  bulk,  even  before  the  Civil  War,  are  nevertheless  extremely  impressive.  In 
1800  the  Atlantic  Division  held  not  less  than  93  per  cent  of  the  whole  population. 
In  1860  this  Division  contained  only  about  51  per  cent,  while  the  East  Central 
had  35  per  cent  and  the  West  Central  over  12  per  cent.     Yet,  since  the  total  had 

1  Kentucky,  1792 ;  Tennessee,  1796 ;  Mississippi,  1798 ;  Indiana,  1800 ;  Ohio,  1803  ;  Michigan,  1806 ; 
Illinois,  1809  ;  Alabama,  1817  ;  Wisconsin,  1836. 

2  In  the  West  Central  Division  governments  were  organized  as  follows  :  Louisiana,  1804  ;  Missouri,  1812 ; 
Arkansas,  1819;  Iowa,  1838;  Texas,  1848;  Minnesota,  1849;  Kansas  and  Nebraska,  1854;  the  Dakotas, 
1861 ;    Oklahoma  (consisting  largely  of  the  previous  unorganized  Indian  Territory),  1890. 

Inlthe  Mountain  Division  the  dates  were  these :  New  Mexico  and  Utah,  1850 ;  Colorado  and  Nevada, 
1861 ;  Arizona  and  Idaho,  1863  ;    Montana,  1864  ;    Wyoming,  1868. 

Owing  to  various  circumstances  the  enrollment  in  the  Pacific  Division  somewhat  antedated  that  further 
east :    Oregon,  1848  ;    California,  1850 ;    Washington,  1853. 

Meanwhile,  the  number  in  the  Atlantic  Division  was  increased  as  follows  :  Vermont,  1791 ;  Maine,  1820 ; 
Florida,  1822  ;    West  Virginia,  1862.     None  of  these  except  Florida  represented  new  territory. 

Thus  before  1870  the  Union  had  come  to  include  48  actual  or  potential  'States.' 

3  Roughly  stated,  the  area-proportions  of  the  five  great  Divisions  are  as  follows :  Atlantic,  14%  ;  East 
Central,  15%;   West  Central,  32%;    Mountain,  28%;   Pacific,  11%. 


THE  ERA  OF  NATIONAL  EXPANSION  13 

meantime  grown  to  over  31,000,000,  the  East  in  1860  had  16,000,000  inhabitants, 
more  than  three  times  its  size  in  1800.  The  large  absolute  increase  and  the 
startling  changes  in  distribution  could  not  fail  greatly  to  affect  every  aspect  of 
social  culture.  The  entire  country  suffered  from  being  in  a  state  of  flux,  though, 
on  the  other  hand,  in  every  section  the  period  was  instinct  with  energy  and  pro- 
phetic aspiration. 

A  conspicuous  feature  of  the  time  was  the  setting  in  of  a  great  stream  of  immi- 
gration from  abroad,  in  part  occasioned  by  the  political  unrest  in  Europe  between 
1830  and  1850.  The  incoming  tide  of  people  not  only  helped  to  swell  the  total 
population,  often  determining  the  character  of  new  settlements  in  the  West,  but 
within  it  were  hundreds  of  educated  and  able  individuals  who  were  destined  to  be 
dynamic  in  the  formation  of  the  later  national  culture.  For  the  first  time  America 
began  to  feel  the  force  of  the  best  qualities  of  German  civilization,  not  simply  as 
it  was  transferred  hither  by  incoming  immigrants,  but  also  as  more  and  more  it  was 
apprehended  at  its  source  by  outgoing  students  and  visitors.^ 

Another  feature  of  tlie  period  that  was  artistically  weighty  and  potential 
was  the  multiplication  of  cities  and  their  striking  advance  in  relative  importance. 
In  1800  the  Census  officially  recognized  only  six  'cities,'  which  contained  but  4 
per  cent  of  the  whole  population.  In  1860  there  were  one  hundred  and  forty, 
containing  16  per  cent  (or  over  5,000,000  in  all).  At  the  head  of  the  list  in  1860 
remained  New  York  (with  its  neighbors  Brooklyn  and  Newark),  Philadelphia 
(quadrupled  in  1854  by  taking  in  many  suburbs),  Baltimore  and  Boston.  But 
the  shift  in  the  general  center  of  population  is  shown  b^^  the  fact  that  high  on  the 
list  are  many  new  names,  such  as  Pittsburgh  and  Cincinnati  (from  1820),  Buffalo 
and  Louisville  (from  1830),  St.  Louis  (from  1840),  Chicago  and  San  Francisco 
(from  1850),  with  Cleveland,  Detroit  and  Milwaukee  soon  following.  The  de- 
velopment of  the  Mississippi  is  indicated  by  the  rise  of  New  Orleans  (from  1820) 
to  a  place  among  the  leaders.  For  various  reasons  the  big  cities  from  the  first  were 
strongholds  of  foreign  settlement,  so  that  the  leadership  in  social  and  intellectual 
matters  which  cities  always  exercise  was  in  this  case  particularly  affected  by  the 
stimulus  to  artistic  knowledge  and  achievement  that  was  felt  from  abroad. 

It  is  needless  to  dilate  upon  the  fact  that  the  period  was  remarkable  for  the 
rapid  advance  in  industrial  and  commercial  enterprise,  leading  to  the  accumula- 
tion of  a  striking  total  of  wealth.  The  drift  of  population  to  the  West  was  pri- 
marily to  open  up  agricultural  resources.  But  equally  significant  were  the  quests 
for  coal  and  oil  in  Pennsylvania  and  for  metals  and  lumber  in  the  Northwest  and 
on  the  Pacific  Slope.  The  invention  and  rapid  adoption  of  labor-saving  machin- 
ery for  farming  operations  wTought  a  phenomenal  economic  revolution,  since  by  the 
end  of  the  period  two-fifths  of  the  population  had  become  able  to  provide  food  for 
the  remaining  three-fifths.  This  is  but  a  single  illustration  of  a  transformation 
that  was  taking  place  in  all  directions.     Water-transportation  for  inland  commerce 

» In  the  decade  1830-40  the  i;otal  immigration  was  about  600,000,  in  1840-50  about  1,700,000,  in  1850-60 
nearly  2,600,000.  In  1850  one  person  in  every  ten  in  the  United  States  was  foreign-born,  and  in  1860  one  in 
every  eight.  In  1860  there  were  more  than  4,000,000  who  were  foreign-born,  and  of  these  1,278,000  had  come 
from  Germany. 


14  HISTORICAL    INTRODUCTION 

assumed  large  proportions  upon  the  Ohio  and  Mississippi  Rivers,  through  the 
Great  Lakes  and  by  means  of  the  Erie  Canal  (opened  in  1825).  Between  1830 
and  1850  some  9000  miles  of  railroad  were  opened,  and  before  1860  not  less  than 
21,600  miles  were  added.  These  lines  of  communication  made  feasible  a  wholly 
new  social  interchange,  quite  aside  from  their  bearing  upon  economic  develop- 
ment. 

It  was  in  this  period  that  original  impetus  in  the  fields  of  science,  letters  and 
several  forms  of  fine  art  first  became  notable.  Systematic  popular  education  was 
undertaken  with  extraordinary  zest,  not  only  through  a  system  of  public  schools 
supported  by  local  taxation,  but  more  and  more  through  institutions  of  higher  edu- 
cation privately  endowed  or  else  founded  by  religious  organizations.  Newspapers 
and  magazines  multiplied,  and  both  the  number  and  the  variety  of  published  books 
were  rapidly  extended.  Native  fiction  and  poetry,  besides  literature  of  an  educa- 
tional or  technical  character,  broke  forth  with  energy  and  originality.  Even 
painting  and  sculpture  began  to  be  cultivated  with  strength  and  independence. 
The  taste  for  the  drama  grew  more  general  and  more  discriminating.  In  short,  this 
stirring  period,  especially  in  the  quarter-century  before  1860,  was  marked  by  a  dis- 
play of  manifold  mental  vigor  that  was  akin  to  its  physical  and  economic  enter- 
prise. Whether  or  not  the  immediate  products  had  enduring  importance,  the 
field  of  cultural  activity  was  certainly  brought  fully  into  view  and  its  wide  appeal 
to  human  interest  in  some  part  perceived. 

It  is  not  strange,  therefore,  that  in  this  period  musical  life  should  have  become 
more  abundant  and  significant.  The  number  of  professional  musicians,  both 
visiting  performers  and  resident  teachers,  decidedly  increased,  the  most  important 
influence  naturally  still  being  exerted  by  those  coming  from  abroad.  Church- 
music,  concert-undertakings,  operatic  performances  of  a  kind,  ensemble  instru- 
mental music  —  all  these  lines  of  public  enterprise,  though  on  a  small  scale  as  yet, 
gave  promise  of  future  attainment.  And  any  thoughtful  examination  of  accessible 
lists  of  musical  workers  makes  plain  that  the  subtle,  but  powerful,  leaven  of  private 
instruction  was  now  beginning  to  work  here  and  there,  not  as  yet  producing  re- 
sults that  can  readily  be  catalogued,  but  still  undoubtedly  raising  the  standards  of 
popular  appreciation,  discrimination  and  aspiration.  The  time  had  not  come  for 
widespread  skill  in  performance,  for  familiar  acquaintance  with  the  trend  of  musi- 
cal affairs  in  any  large  sense,  or  for  creative  freedom  in  the  upper  ranges  of  com- 
position, except  among  some  of  the  incoming  foreigners.  But  the  basic  importance 
of  the  period  as  a  whole  with  reference  to  the  future  is  obvious. 

Until  about  1850  individual  persons  are  as  a  rule  not  so  conspicuous  in  the 
history  as  certain  general  advances  in  diffused  interest.  Two  lines  of  activity 
were  brought  over  from  the  preceding  period,  namely,  (a)  the  cultivation  of 
'psalmody,'  primarily  in  New  England,  but  soon  extending  southward  and  west- 
ward, resulting  frequently  in  the  stimulus  of  more  advanced  choral  music,  of  a 
craving  for  discipline  in  solo-singing,  and  of  interest  in  class-instruction  in  the 
rudiments  of  composition  ;  and  (b)  repeated  efforts,  mostly  without  continuity  or 
wise  planning,  to  provide  ambitious  operatic  and  concert-performances,  not  seldom 


THE   ERA  OF  NATIONAL   EXPANSION  15 

making  important  impressions  through  the  passing  vogue  of  talented  vocalists  or 
through  the  drawing  of  trained  instrumentalists  into  permanent  residence. 

A  third  point  in  the  development  from  soon  after  1800  was  the  founding  in 
several  centers  of  energetic  instrument-manufacture,  especially  the  making  of 
pianos,  with  a  large  consequent  effect  on  popular  interest  through  the  extensive 
sale  and  use  of  the  products.  Part  of  this  was  simply  a  phase  of  the  general 
awakening  to  mechanical  pursuits.  But  the  rapid  expansion  of  trade  in  pianos  — 
not  to  mention  other  instruments  —  implies  that  a  considerable  demand  for  them 
existed  or  was  impending,  and  the  display  of  original  ingenuity  in  novel  construc- 
tion —  often  preceding  similar  advances  abroad  —  bespeaks  something  more 
than  a  mere  desire  for  profits.  In  the  single  year  1829  it  has  been  estimated  that 
2500  pianos  were  made,  valued  at  $750,000.  In  1850  there  were  over  200  estab- 
lishments at  work  upon  musical  instruments,  the  value  of  the  annual  product  being 
nearly  $2,600,000.^  Progress  was  greatly  stimulated  by  competitive  exhibitions 
held  in  Philadelphia  from  1824  by  the  Franklin  Institute  and  in  New  York  from 
1830  by  the  Mechanics'  Institute.^ 

It  is  to  be  noted  that,  whereas  in  the  later  18th  century  foreign  influences  in 
music  came  almost  wholly  from  England  or  France,  after  perhaps  1810  the  impress 
of  Germany  began  to  be  notable  in  certain  cities,  like  Baltimore,'  Philadelphia  and 
New  York.  It  is  said  that  in  New  York  as  late  as  1835  there  still  remained  a 
decided  prejudice  in  piano-making  against  German  workmen,  which  was  overcome 
only  with  some  difficulty.  But  ten  years  later  In  such  trade-circles  the  German 
element  had  become  highly  respected.^  A  parallel  transition  was  even  more 
evident  among  executive  musicians.  After  1840  able  German  players  and 
leaders  began  to  arrive  in  increasing  numbers,  and  wherever  they  settled  they 
became  centers  of  fruitful  influence.  And  from  that  date  American  students 
began  to  go  to  Germany  for  training,  especially  after  the  Leipzig  Conservatory 
entered  the  field.  Significant  events  were  the  advent  of  the  so-called  Germania 
Orchestra  in  1848  and  the  formation  of  the  Mendelssohn  Quintette  Club  in  1849. 
Even  more  significant  in  its  way  was  the  arrival  in  1845  of  the  boy  Theodore 
Thomas. 

The  most  striking  organizations  of  the  period  were  the  Handel  and  Haydn 
Society  of  Boston,  founded  in  1815,  the  Musical  Fund  Society  of  Philadelphia, 
founded  in  1820,  and  the  New  York  Philharmonic  Society,  founded  in  1842, 
representing  more  or  less  different  lines  of  interest,  but  all  making  for  substantial 
progress.  From  time  to  time  ambitious  opera-houses  were  erected,  of  which 
probably  the  most  famous  was  the  Academy  of  Music  in  New  York,  opened  in 
1854.  Almost  equally  notable  was  the  Boston  Music  Hall,  erected  in  1852,  in 
which  just  at  the  end  of  the  period  (1863)  was  set  up  the  first  elaborate  concert- 
organ  In  the  country  (made  by  Walcker  of  Ludwigsburg) .  New  Orleans  had  a 
series  of  opera-houses  from  1808,  the  latest  and  finest  being  opened  in  1859. 

1  See  Bishop,  History  of  the  Arts  and  Industries  of  the  United  States,  1864,  pp.  339,  486. 

'  Regarding  piano-making  in  America  important  books  of  reference  are  Spillane,  History  of  the  American 
Pianoforte,  New  York,  1890,  and  Dolge,  Pianos  and  their  Makers,  2  vols.,  Covina,  Cai.,  1911-13,  together  -with 
Hipkins,  History  of  the  Pianoforte,  London,  1896,  and  his  article  in  Vol.  iii.  716-32  of  this  Dictionary. 

»  See  Spillane,  pp.  186-8, 


16 


CHRONOLOGICAL  REGISTER 


[3:  1800-1840 


There  is  as  yet  a  marked  default  in  detailed  information  about  the  individ- 
uals and  organizations  that  probably  exerted  a  formative  influence  in  many 
places  during  the  early  decades  of  the  19th  century.  UntU  work  like  that 
done  by  Sonneck  for  tlie  18th  century  has  been  undertaken  the  data  will  re- 
main fragmentary  and  disconnected.  But,  happily,  it  is  possible  to  give  some 
hint  of  the  striking  advance  of  the  mechanical  and  commercial  sides  of  musical 
life,  especially  as  evidenced  by  the  founding  of  businesses  that  were  more  than 
transiently  important.  Accordingly  to  these  considerable  attention  is  here 
paid,  especially  in  sec.  3.  In  sec.  4,  also,  it  is  possible  to  emphasize  many  of  the 
incoming  foreigners  who  were  invaluable  in  awakening  artistic  thought  and 
ambition.  Yet,  at  best,  the  time  before  the  Civil  War  remains  relatively  defec- 
tive in  presentation,  except  as  imagination  and  conjecture  fill  in  its  manifest 
gaps  of  definite  fact. 

CHRONOLOGICAL  REGISTER 


3.   The  Early  19th  Century,  1800-1840 

Adams,  F.  W.  (Montpelier,  Vt.,  1787-1859), 
a  violin-maker  after  about  1805  who  made 
about  140  instruments,  marked  by  much 
excellence  of  tone. 

Appleton,  Thomas,  from  about  1810  a  noted 
organ-maker  in  Boston  who  learned  his  trade 
with  W.  M.  Goodrich,  from  1813  was  partner 
of  Babcock  the  piano-maker,  and  from  1820  was 
successively  associated  with  Ebenezer  Good- 
rich, Corri  and  the  elder  Warren  (father  of 
S.  P.  Warren).  Among  his  many  organs  was 
one  for  the  Handel  and  Haydn  Society. 

*Arquier,  Joseph  (France,  1763-1816, 
France),  a  'cellist  and  composer  of  operas  who 
conducted  a  French  opera-troupe  in  New 
Orleans  in  1800-04. 

*Austin,  Mrs.,  an  accomplished  English 
opera-singer  who  from  1829  did  much  to  make 
popular  certain  works  of  Rossini,  Boieldieu 
and  Weber. 

Babcock,  Alpheus,  an  ingenious  and  success- 
ful piano-maker,  trained  by  Crehore,  who  in 
1810  opened  a  shop  in  Boston  with  his  brother 
Lewis  Babcock  (d.  1817),  was  for  a  time  asso- 
ciated with  Appleton  and  the  Haji;s  (firm  dis- 
solved in  1815,  see  Brooks,  Olden-Time  Music, 
p.  270)  and  from  1822  with  Mackay,  who 
supplied  capital.  In  1829  he  moved  to  Phila- 
delphia and  was  associated  with  Klemm 
(probably  the  son  of  the  organ-builder  in  sec.  2 
above).  His  pianos  won  prizes  repeatedly 
from  1824.  In  1825  he  patented  a  solid  metal 
plate  which  was  the  first  successful  application 
of  the  principle  later  universally  adopted.  See 
Spillane,  Hist,  of  the  American  Pianoforte,  pp. 
85-7,  120-3,  etc. 

Bacon,  George  (d.  1856,  New  York),  joined 
Dubois  and  Chambers,  the  Boston  piano- 
makers,  in  1836.  About  1841  the  firm  became 
Bacon  &  Raven,  and  in  1856  Francis  Bacon 
took  his  father's  place  in  Raven  &  Bacon,  con- 
tinuing the  business  now  carried  on  by  the 
Bacon  Piano  Company  of  New  York. 

Baker,  Benjamin  Franklin  (Wenham,  Mass., 
1811-1889,  Boston),  from  1831  singer,  teacher, 
editor,  author  and  composer,  first  at  Salem  and 


from  1837  in  Boston.  See  art.  and  Tune- 
Books. 

Beckel,  James  Cox  (b.  Philadelphia,  1811), 
of  German  parentage,  from  1824  assisted  his 
father  as  organist  and  from  1829  for  more  than 
fifty  years  held  posts  in  various  Philadelphia 
churches,  composing  several  cantatas,  an 
organ-method,  etc. 

Blake,  George  E.  (Philadelphia,  1775-1871, 
Philadelphia),  the  son  of  an  earlier  music- 
dealer,  began  music-publishing  in  1802  and 
became  a  leader  in  musical  affairs.  He  was  an 
original  member  of  the  Musical  Fund  Society 
in  1820,  and  from  1824  active  at  exhibitions  of 
the  Franklin  Institute.     See  Tune-Books. 

*Boucher,  A.,  a  good  'cellist  who  came  to 
New  York  in  1833  with  Rivafinoli's  opera- 
troupe  and  was  long  prominent.  He  collabo- 
rated with  Schlesinger  in  1837  and  was  con- 
cerned in  the  establishment  of  the  Philharmonic 
Society  in  1842. 

Bourne,  William  (d.  1885,  Boston),  began 
making  pianos  in  Dayton,  O.,  in  1837,  soon 
moved  to  Cincinnati  and  in  1842  to  Boston, 
where  in  1846,  after  being  foreman  at  Chicker- 
ing's,  he  established  the  firm  now  known  as 
the  Wm.  Bourne  &  Son  Piano  Co.,  his  son 
Charles  E.  Bourne  coming  into  it  in  1863. 

Bradbury,  William  Batchelder  (York,  Me., 
1816-1868,  Montclair,  N.  J.),  from  1834  or- 
ganist in  Boston  and  soon  a  teacher  under 
Mason,  and  from  1840  teacher,  editor,  com- 
poser and  also  piano-maker  in  New  York.  See 
art.  and  Tune-Books. 

Brainard,  SUas  (Lempster,  N.  H.,  1814-1871, 
Cleveland),  set  up  a  music-store  in  Cleveland 
in  1836  and  in  1845  began  publisliing,  thus 
establishing  the  firm  later  known  as  S.  Brain- 
ard's  Sons  (Charles  S.  and  Henry  M.) 

*Bristow,  William  Richard  (England,  1803- 
1867,  New  York),  came  to  New  York  about 
1824  and  was  long  a  leading  teacher  and  con- 
ductor.    See  Bristow,  George  F.  (sec.  4). 

Brown,  Bartholomew,  from  about  1800  a 
teacher  in  Boston,  was  one  of  the  editors  of  the 
significant  Bridgewater  Collection  in  1802  (see 
Tune-Books)  and  in  1832-38  conductor  of 
the  Handel  and  Haydn  Society. 


3:  1800-1840] 


CHRONOLOGICAL  REGISTER 


17 


*Caradori-Allan,  Maria  Caterina  (Italy, 
1800-1865,  England),  a  gifted  and  distinguished 
concert-  and  opera-singer  in  England,  who 
from  1837  made  a  marked  success  in  New  York, 
Philadelphia,  etc.     See  Vol.  i.  461-2. 

Chickering,  Jonas  (New  Ipswich,  N.  H., 
1798-1853,  Boston),  came  to  Boston  in  1818 
and  in  1823  established  the  piano-making  busi- 
ness which  speedily  became  famous.     See  art. 

*Clark,  John,  came  from  England  about  1830 
and  joined  William  Nunns,  the  piano-maker 
of  New  York.     See  Nunns  below. 

Cross,  Benjamin  (Philadelphia,  1786-1857, 
Philadelphia),  a  graduate  of  the  University 
of  Pennsylvania  and  pupil  of  Carr  and  Taylor, 
was  one  of  the  founders  and  conductors  of  the 
Musical  Fund  Society  from  1820,  and  as  singer 
and  teacher  was  highly  influential.  See  Ma- 
deira, Music  in  Philadelphia. 

*Da  Ponte,  Lorenzo  (Italy,  1749-1838,  New 
York),  the  librettist  of  two  of  Mozart's  operas, 
was  from  1805  teacher  and  promoter  of  opera 
in  New  York.     See  Vol.  iii.  789-90,  and  art. 

*Davis,  John,  came  to  New  Orleans  from 
San  Domingo  with  an  operatic  troupe  in  1811, 
and  in  1813  built  the  Theatre  d'Orleans,  where 
opera  was  regularly  given  with  exceptional 
artistic  perfection  for  forty  years.  Pierre 
Davis  succeeded  his  father  as  manager. 

*De  Begnis,  Giuseppe  (Italy,  1793-1849, 
New  York?),  a  gifted  opera-singer,  specially 
strong  in  bufTo  parts,  who  came  to  New  York 
in  1838  and  appeared  with  the  Seguins.  See 
Vol.  i.  277-8. 

Ditson,  Oliver  (Boston,  1811-1888,  Boston), 
the  famous  music-publisher,  became  a  clerk 
in  a  music-store  in  1823  and  in  1835  began 
business  for  himself.     See  art. 

*Dubois,  William,  was  a  good  piano-maker 
in  New  York,  from  1821  associated  with 
Stodart  and  later  with  Bacon  and  Warriner. 
See  Spillane,  pp.  108,  150,  etc. 

Dunham,  J.  B.  (New  Hampshire,  1799-1873, 
New  York),  originally  a  cabinet-maker  in  the 
South,  from  1834  worked  for  Nunns  in  New 
York  and  from  1836  was  partner  of  Adam 
Stodart  in  piano-making,  succeeding  to  Os- 
born's  business.  From  1849  the  firm  name  was 
J.  B.  Dunham  &  Co.,  and  from  1867  Dunham 
&  Sons.  Though  not  an  inventor,  he  was  in- 
fluential in  popularizing  the  overstrung  scale. 

*Dyhrenfurth,  Julius,  a  German  violinist 
who  came  to  America  after  1830,  gave  concerts 
with  Joseph  Hermanns,  a  pianist,  in  the  upper 
Ohio  Valley  and  in  New  Orleans  and  the 
South,  in  1841-47  was  in  Germany  and  then  set- 
tled in  Chicago.  With  other  German  musi- 
cians, he  formed  an  orchestra  which  in  1850  gave 
eight  concerts  as  the  Philharmonic  Society. 
See  Upton,  Musical  Metnories,  pp.  253-9,  etc. 

*Firth,  John  (England,  1789-1864,  New 
York),  was  in  1815  a  maker  of  wood-wind  in- 
struments in  New  York,  deriving  his  skill  from 
Edward  Riley  (also  English,  at  work  in  New 
York  by  1812),  whose  daughter  he  married. 
In  1821  or  '24  the  firm  of  Firth  &  Hall  was 


formed,  dealing  in  both  small  instruments  and 
music,  and  from  1830  adding  piano-making 
and  music-publishing.  S.  B.  Pond  joined 
the  firm  in  1832  and  W.  A.  Pond  in  1847. 
Firth  parted  from  them  in  1863,  and,  with 
his  son  Thaddeus  established  the  publishing 
business  which  in  1867  was  bought  by  Ditson 
and  made  the  nucleus  of  his  New  York  branch. 

*Garcia,  Manuel  del  Popolo  Vicente  (Spain, 
1775-1832,  France),  the  distinguished  singer, 
composer  and  conductor,  brought  an  opera- 
troupe  to  New  York  in  1825,  introducing 
Italian  opera  in  a  series  of  79  performances. 
Among  the  singers  were  his  wife,  his  son  Manuel 
(1805-1906),  later  the  great  singing-master, 
and  especially  his  daughter  Maria  Felicita 
(1808-36),  later  known  as  Malibran  (from  the 
French  merchant  whom  she  married  in  New 
York  in  1826),  whose  singing  made  a  deep  im- 
pression. Of  his  troupe,  Crivelli  and  Angrisani 
were  otherwise  the  ablest  members.  See  Vols, 
ii.  143-4,  iii.  33-5,  Ritter,  Music  in  America, 
chap.  X.,  and  Krehbiel,  Chapters  of  Opera,  pp. 
25-30. 

*Geib,  John  and  Adam,  piano-makers  who 
appeared  in  New  York  in  1802,  were  sons  of 
John  Geib,  one  of  the  Germans  who  from  1760 
established  piano-making  in  England  and  the 
inventor  of  the  '  hopper  '  (1786).  John  prob- 
ably died  before  1809,  but  Adam  and  two  of 
John's  sons,  John,  Jr.  (from  1815)  and  Wil- 
liam (from  1821),  long  continued  prominent. 
From  about  1830  Geib  &  Walker  were  piano- 
makers,  importers  and  music-publishers  of 
note.  [In  Brown,  Diet,  of  Musicians,  is  also 
a  reference  to  a  George  Geib  (New  York,  1780- 
?) ,  piano-teacher  in  New  York  and  author  of  an 
instruction-ljook  in  1819.] 

GUbert,  Timothy,  with  his  brother  Lemanuel 
Gilbert,  was  trained  in  piano-making  by  Osborn 
of  Boston  before  1820,  and  began  business  in 
1829,  promptly  establishing  a  reputation  for 
ingenious  ability,  especially  in  improving  the 
action  of  uprights  (1841)  and  squares  (1847). 
In  1847  he  brought  out  an  '  organ-piano,'  based 
on  a  patent  of  Obed  Coleman  (1844).  His 
brother  was  less  gifted  and  successful.  Both 
continued  active  till  about  1870. 

*Gilles,  P.,  a  'cellist  in  Philadelphia,  promi- 
nent in  the  organization  and  leadership  of  the 
Musical  Fund  Society  from  1820. 

Goodrich,  William  M.  (Templeton,  Mass., 
1777-1833?),  was  the  first  important  American 
organ-builder,  during  almost  thirty  years  from 
1805  nearly  monopolizing  the  business  in 
Boston.  From  about  1822  he  also  made  pianos. 
He  trained  Elias  Hook.  His  brother  Eben- 
ezer  Goodrich  succeeded  him,  though  without 
equal  distinction. 

Gould,  Nathaniel  Duren  (Chelmsford,  Mass., 
1781-1864,  Boston),  from  about  1800  an  ac- 
tive teacher  of  singing-schools  (also  penman- 
ship), claiming  to  have  had  50,000  pupils 
before  1843.  From  1819  his  headquarters  was 
Boston.  His  Church  Music  in  America,  1853, 
has  curious  interest.     See  Tune-Books. 


18 


CHRONOLOGICAL  REGISTER 


[3:  1800-1840 


Hastings,  Thomas  (Litchfield,  Conn.,  1787- 
1872,  New  York),  from  1816  conspicuous  as 
leader,  compiler,  composer  and  author  in  the 
field  of  psalmody,  from  1823  at  Utica  and  from 
1832  in  New  York.     See  Tune-Books. 

*Hawkins,  John  Isaac,  an  English  civil  engi- 
neer who,  while  living  in  Philadelphia,  devised, 
made  and  for  a  short  time  put  upon  the  market 
a  notable  cottage-piano,  having  many  features 
not  practically  developed  till  later.  This 
piano  was  patented  both  in  America  and  in 
England  in  1800.  See  Spillane,  pp.  80-3,  etc., 
Hipkins,  Hist,  of  the  Pianoforte,  p.  Ill,  and 
cut  in  Dolge,  Pianos  and  their  Makers,  p.  53. 

*Hayter,  A.  U.  (England,  1799-1873,  Boston), 
having  been  cathedral-organist  at  Salisbury 
and  Hereford,  came  to  New  York  in  1835,  was 
for  a  short  time  at  Grace  Church  and  from 
1838  at  Trinity  Church,  Boston,  and  in  1838-49 
organist  of  the  Handel  and  Haydn  Society. 

*Heinrich,  Anton  Philipp  (Bohemia,  1781- 
1861,  New  York),  a  singular  character  in  Ken- 
tucky who  began  composing  by  instinct  in 
1818,  from  1827  was  in  London,  studying  and 
composing,  in  1834  visited  Germany  and 
Austria,  then  came  to  New  York,  where  he 
was  much  in  evidence  as  an  '  American '  com- 
poser, but  with  ephemeral  success.  See  Baker, 
Diet,  of  Musicians,  1918,  pp.  1087-8,  and  note 
in  '  Musical  Quarterly,'  April,  1920,  p.  249. 

Hewitt,  Miss  S.,  was  organist  of  the  Handel 
and  Haydn  Society,  Boston,  in  1820-29. 

Hews,  George  (1806-1873),  from  about  1830 
was  tenor  soloist,  teacher,  organist  and  piano- 
maker  in  Boston.  He  was  prominent  in  the 
Handel  and  Haydn  Society. 

HUl,  Ureli  Corelli  (New  York,  18027-1875, 
New  York),  early  active  in  New  York  as 
violinist,  from  1831  was  conductor  of  the  Sacred 
Music  Society  (in  that  year  giving  '  The  Mes- 
siah '  with  orchestra),  from  1836  studied  with 
Spohr  at  Cassel,  in  1842  organized  and  was  the 
first  conductor  of  the  Philharmonic  Society, 
and  attempted  to  start  regular  chamber-con- 
certs. After  1850  he  wandered  from  place  to 
place,  engaging  in  ill-starred  business  ventures, 
and  finally  committed  suicide.  Though  not  a 
strong  musician,  he  was  historically  important. 
See  Ritter,  Music  in  America,  pp.  266-7,  and 
Krehbiel,  Philharmonic  Society  of  New    York. 

*Hiskey  was  a  good  German  piano-maker  in 
Baltimore  from  before  1820  till  about  1845. 
His  pianos  were  widely  popular  in  the  South 
and  to  the  West. 

♦Hodges,  Edward  (England,  1796-1867, 
England),  came  to  Toronto  as  organist  in  1838 
and  to  New  York  in  1839,  from  1846  being  at 
Trinity  Church,  and  returned  to  England  in 
1863.     See  Vol.  ii.  414,  and  art. 

Holt,  Benjamin  (1774-1861),  besides  com- 
piling church  music  (see  Tune-Books),  was 
one  of  the  founders  and  early  conductors  of 
the  Handel  and  Haydn  Society  from  1815. 

Hook,  Elias  (180.5-1881),  with  his  brother 
George  G.  Hook  (1807-1880),  the  former  hav- 
ing been  trained  by  Goodrich,  began  making 


organs  at  Salem  in  1827,  removed  to  Boston  in 
1832  and  became  recognized  as  leaders  in 
the  industry.  From  1855  Francis  H.  Hastings 
(1836-1916)  was  associated  with  them,  the 
firm  name  becoming  Hook  &  Hastings  in  1865. 

*Horn,  Charles  Edward  (England,  1786- 
1849,  Boston),  from  1809  actor-singer  and  com- 
poser of  operettas,  came  to  New  York  in  1832-33 
and  brought  out  English  operas  until  diverted 
by  illness  into  teaching  and  music-publishing. 
After  being  in  England  in  184.3-47,  in  1848  he 
became  conductor  of  the  Handel  and  Haydn 
Society  in  Boston.     See  Vol.  ii.  433-4. 

*Hupfeld,  Charles  P.,  a  competent  German 
violinist,  who  from  about  1815  joined  Carr 
and  Taylor  in  Philadelphia  in  promoting  cham- 
ber- and  orchestral  music.  He  was  one  of  the 
founders  and  early  conductors  of  the  Musical 
Fund  Society.     See  Madeira. 

*Jackson,  Samuel  P.  (England,  1818-1885, 
Brooklyn),  son  of  an  organ-maker  who  came 
to  New  York  in  1825,  was  from  1830  organist  at 
St.  Clement's,  from  1842  at  St.  Bartholomew's 
and  from  1861  at  other  leading  churches.  Be- 
sides being  an  excellent  teacher,  he  published 
much  organ-music,  anthems,  etc.,  and  for 
nearly  thirty  years  was  proof-reader  for  the 
publisher  Schirmer. 

*Jardine,  John,  an  English  piano-maker  in 
New  York  from  1832  who  made  '  overstrung' 
pianos  as  early  as  1833.  His  brother  George 
Jardine  (1801-  ?  ),  a  highly  trained  organ- 
maker,  came  to  New  York  in  1837  and  soon 
founded  the  successful  firm  from  1860  known  as 
Jardine  &  Son. 

*Jarvis,  Charles,  am  English  pianist  and 
teacher  who  was  prominent  in  Philadelphia 
from  about  1835.  He  published  a  successful 
instruction-book  in  1852. 

*Knabe,  William  (Prussia,  1803-1864,  Balti- 
more), a  trained  piano-maker,  came  to  Balti- 
more in  1833,  worked  under  the  talented  Henry 
Hartye,  formed  a  partnership  with  Henry 
Gaehle  in  1839  which  continued  till  1S54,  and 
then  proceeded  alone.  Before  1860  he  had 
become  known  as  one  of  the  best  makers  in  the 
country.  After  the  War  the  business  was 
finely  continued  by  his  two  sons,  William  (d. 
1889)  and  Ernest  (d.  1894),  and  handed  on  to 
grandsons.  In  1908  it  was  merged  into  the 
American  Piano  Co.     See  Dolge,  pp.  282-6. 

♦Lindeman,  William  (Saxony,  1795-1875, 
New  York),  came  to  New  York  in  1834  and 
soon  developed  a  notable  piano-making  busi- 
ness which  still  continues.  Lindeman  was  in- 
strumental in  overcoming  the  strong  prejudice 
in  New  York  against  German  workmen.  The 
'  cycloid  '  piano  patented  in  1860  by  his  son 
Henry  Lindeman  (b.  1838)  presaged  the  later 
email  or  '  baby  '  grands. 

*Loud,  Thomas  (d.  1834,  New  York),  an 
English  piano-maker  who  patented  an  upright 
in  1802,  was  the  head  of  a  notable  family  of 
makers.  He  came  to  New  York  about  1816. 
Meanwhile  his  son  Thomas  Loud,  Jr.  had 
settled  in  Philadelphia  in  1812  as  pianist  and 


3:  1800-1840] 


CHRONOLOGICAL  REGISTER 


19 


piano-maker,  soon  becoming  prominent  in  all 
musical  enterprises.  With  three  brothers  he 
constituted  the  energetic  firm  of  Loud  Brothers 
in  1824,  which  was  broken  up  in  1837.  Thomas 
C.  Loud  (b.  Philadelphia,  1812),  however,  up- 
held the  family  reputation  till  about  1855. 
The  Louds,  besides  being  strong  inventively, 
were  important  promoters  of  the  industry. 

Lucas,  George  W.  (b.  Glastonbury,  Conn., 
1800),  from  1816  for  over  thirty  years  was  ac- 
tive as  a  teacher  of  singing-schools,  in  1820-35 
at  Northampton,  Mass.,  later  at  Troy,  N.  Y., 
and  farther  west,  and  in  Canada. 

Mackay,  John  (d.  1841,  at  sea),  a  Boston 
ship-merchant,  became  in  1822  the  financial 
supporter  of  Babcock  in  piano-making  and  in 
1829  of  Chickering. 

Mason,  Lowell  (Medfield,  Mass.,  1792-1872, 
Orange,  N.  J.),  the  distinguished  teacher,  or- 
ganizer and  tune-composer,  was  choir-leader 
in  1808  at  Medfield  and  1812-27  at  Savannah. 
His  Boston  activity  began  in  1827.  See  Vol. 
iii.  74,  art.  and  Tune-Books. 

*McPhail,  A.  M.  (d.  1902,  Omaha),  came  to 
Boston  from  New  Brunswick  and  began  piano- 
making  in  1837,  after  training  from  Gilbert. 
He  remained  in  high  repute  till  his  retirement 
in  1891. 

Meneely,  Andrew  (West  Troy,  N.  Y.,  1801- 
1851,  West  Troy),  in  1826  founded  a  famous 
bell-founding  business  in  West  Troy  (now 
Watervliet),  continued  by  his  sons  and  now 
by  his  grandson. 

*Meyer,  Conrad  (d.  1881,  Philadelphia),  a 
gifted  Hessian  piano-maker  who  came  to  Balti- 
more in  1819  and  to  Philadelphia  in  1829.  He 
is  noted  for  making  in  1833  one  of  the  earliest 
pianos  with  a  full  iron  plate  and  for  general  ex- 
cellence of  work,  maintained  for  a  half-century. 

Mitchell,  Nahum  (Bridgewater,  Mass.,  1769- 
1853,  Bridgewater),  collaborated  with  Brown 
on  the  Bridge-water  Collection  in  1802.  See 
Tune-Books. 

*Montressor,  a  French  opera-singer,  brought 
a  good  troupe  to  New  York  in  1832  and  gave 
thirty-five  performances  in  Italian.  With 
him  were  the  soprano  Pedrotti  and  the  bass 
Fornasari.  He  was  strongly  supported  by 
Da  Ponte,  but  the  enterprise  was  financially 
disastrous.  It  was  useful,  however,  in  bringing 
several  orchestral  players  to  America.  See 
Krehbiel,  Chapters  of  Opera,  pp.  17-19. 

*Nunns,  Robert  and  William,  English  piano- 
makers,  came  to  New  York  in  1821  and  worked 
together  till  1833,  when  Robert  combined  with 
John  Clark  as  Nunns,  Clark  &  Co.,  continuing 
till  1858,  and  William  proceeded,  at  first  alone 
and  in  1839-40  with  the  Fischers.  The  Nunns 
pianos  were  highly  esteemed  for  about  forty 
years.  The  brothers  were  the  first  in  America 
to  use  the  French  '  rocker  '  action,  the  excel- 
lent scale  of  Sackmeister  (1827)  and  Kreter's 
application  of  felt  to  hammers  ( 1 85 1 ) .  William 
Nunns  was  the  teacher  of  William  Steinway. 

Oliver,  Henry  Kemble  (Beverly,  Mass., 
1800-1885,  Boston),  sang  as  a  boy  in  Boston, 


graduated  from  Dartmouth  in  1818,  was  active 
as  teacher  at  Salem,  starting  choral  societies 
in  1823  and  '26,  and  from  1844  at  Lawrence. 
He  was  mayor  of  Lawrence  in  1859  and  of 
Salem  later,  and  was  State  Treasurer  in  1861- 
65.     See  Tune-Books. 

Osborn,  John  (d.  1835,  New  York),  a  pupil 
of  Crehore,  was  a  piano-maker  in  Boston  from 
1815,  soon  becoming  known  as  '  the  best  in 
the  country,'  went  to  Albany  in  1829  and 
settled  in  New  York  in  1830.  Erecting  a  large 
factory  in  1834  led  to  derangement  and  suicide. 
He  was  the  teacher  of  Chickering.  See  Spill- 
ane,  56-7,  156-7,  etc. 

Perkins,  Orson  (Hartland,  Vt.,  1802-1882, 
Taftsville,  Vt.),  from  1822  for  about  forty 
years  useful  as  a  leader  of  choirs  and  singing- 
schools.  He  was  the  father  of  several  sons 
later  active  (see  sec.  5). 

Perry,  Emory  (b.  HoUiston,  Mass.,  1799), 
from  1821  noted  as  tenor-singer  and  teacher 
at  Worcester.  He  is  said  to  have  had  20,000 
pupils  in  his  singing-classes. 

*PhiIlips,  Thomas  (Wales,  1774-1841,  Eng- 
land), a  fine  tenor,  visited  New  York  as  an 
opera-singer  in  1816  with  Incledon  (see  Vol. 
ii.  463-4)  and  again  in  1823.  He  also  appeared 
in  concerts  and  lectured  in  Boston. 

Pond,  Sylvanus  Billings  (near  Worcester, 
Mass.,  1792-1871,  New  York),  a  piano-maker 
at  Albany  before  1820,  moved  to  New  York  in 
1832  and  joined  the  Firth  brothers  (see  above), 
beginning  the  business  from  1863  known  as 
Wm.  A.  Pond  &  Co.  He  wrote  and  compiled 
tune-music,  especially  for  Sunday-schools. 

Porter,  William  S.,  in  1834  published  at 
Boston  a  Musical  Cyclopedia  of  over  400  pages 
which  was  prepared  under  the  supervision  of 
Lowell  Mason. 

Prescott,  Abraham  (b.  Deerfield,  N.  H., 
1789),  was  probably  the  best-known  of  early 
makers  of  'cellos  and  basses.  He  started  in 
1809  at  his  birthplace,  but  in  1833  went  to 
Concord,  N.  H.,  where  he  worked  till  1845, 
engaging  in  organ-making  as  well  from  1836. 
Many  later  workers  were  trained  in  his  shop. 
See  Violinist's  Guide,  1916,  p.  16. 

*Prevost,  Eugene  Prosper  (France,  1809- 
1872,  New  Orleans),  a  popular  singing-teacher, 
opera-conductor  and  composer  at  New  Orleans 
from  1838  to  1862.     See  Vol.  iii.  812. 

*Rivafinoli,  an  Italian  singer  and  manager 
who  in  1833-34,  with  Da  Ponte,  attempted  a 
season  of  Italian  opera,  including  sixty-eight 
performances  in  New  York  and  fifteen  in  Phil- 
adelphia. His  singers  were  fairly  good  and  the 
orchestra  decidedly  so.  But  the  venture  was 
a  failure  pecuniarily,  the  deficit  being  nearly 
$30,000.  The  New  York  series  was  given  in 
the  first  opera-house  to  be  erected  in  the  city, 
built  at  the  instigation  of  Da  Ponte.  See 
Ritter,  Music  in  America,  chap,  x.,  and  Kreh- 
biel, Chapters  of  Opera,  pp.  19-22. 

♦Russell,  Henry  (England,  1812-1900,  Eng- 
land) ,  famous  for  his  descriptive  songs,  was  in 
Canada  from    1833   and  then    (till   1841)   or- 


20 


CHRONOLOGICAL  REGISTER 


[3 :  1800-1840 


ganist  at  Rochester  or  traveling.  See  Vol. 
iv.  194-5,  and  Madeira,  pp.  131-7. 

*Scharfenberg,  William  (Hesse,  1819-1895, 
Quogue,  N.  Y.),  pianist  (pupil  of  Hummel)  and 
violinist  under  Spohr,  came  to  New  York  in 
1838  and  was  long  prominent  as  teacher  and 
concertist.  He  was  active  in  the  Philharmonic 
Society  and  for  many  years  was  reader  and 
editor  for  Schirmer. 

*Schlesinger,  Daniel  (Hamburg,  1799-1838, 
New  York) ,  pupil  of  Ferdinand  Ries  and  Mosch- 
eles  in  England,  came  to  New  York  in  1836, 
taught  and  gave  a  few  concerts,  besides  being 
chosen  to  lead  the  Concordia,  giving  promise  of 
fine  influence. 

*Schmitz,  Adolph,  a  musician  from  Diissel- 
dorf,  was  brought  to  Philadelphia  in  1826  as 
teacher  by  the  Musical  Fund  Society.  He 
long  continued  to  be  useful  artistically. 

*Schomacker  [Schumacher],  JohannHeinrich 
(Schleswig-Holstein,  1800-1875,  Philadelphia), 
after  training  as  piano-maker  in  Vienna  and 
activity  in  Bavaria,  in  1837  came  to  Philadel- 
phia and,  after  a  short  partnership  with  Wil- 
liam Bossert,  in  1842  started  the  Schomacker 
Piano  Co.,  which  soon  acquired  the  excellent 
reputation  still  maintained.  Its  later  develop- 
ment was  largely  in  the  hands  of  H.  W.  Gray 
(b.  Ephrata,  Pa.,  1830)  and  the  founder's  son 
Henry  C.  Schomacker  (b.  Philadelphia,  1840). 

*Seguin,  Arthur  Edward  Sheldon  (England, 
1809-1852,  New  York) ,  and  his  wife  Ann  Seguin, 
nee  Childe  (England,  1814-1888,  New  York), 
bass-  and  soprano-singers  of  ability,  came  to 
New  York  in  1838  and  were  active  there  and 
elsewhere  till  after  1850,  Mrs.  Seguin  continu- 
ing as  a  teacher.     See  Vol.  iv.  408. 

*Stewart,  James,  a  Scottish  piano-maker, 
came  to  Baltimore  in  1812,  moved  to  Boston 
in  1820  and,  after  a  short  association  with 
Osborn,  became  Chickering's  first  partner  in 
1823.  In  1826  he  returned  to  London,  and  from 
1827  for  more  than  thirty-five  years  was  con- 
nected with  the  CoUards.  Through  him  many 
American  ideas  were  conveyed  into  English 
practice.  See  Spillane,  pp.  30-1 ,  42-3, 57-8,  etc. , 
and  also  Vol.  iii.  731-2. 

*Stodart,  Robert,  another  Scottish  piano- 
maker,  probably  the  grandnephew  of  the  well- 
known  English  pioneer  of  the  same  name, 
came  to  New  York  in  1819  and  in  1820-35? 
worked  with  Dubois,  building  up  a  fine  reputa- 
tion. In  1836  the  firm  of  Stodart,  Worcester 
&  Dunham  was  formed,  in  which  an  Adam 
Stodart  figures  (nephew  of  Robert).  From 
about  1850  for  twenty  years  the  firm  was  highly 
regarded.  On  the  original  Stodart  see  Vols. 
iv.  700  and  iii.  722-31. 

♦Taylor,  Samuel  Priestley  (England,  1779- 
1875?,  Brooklyn),  from  1806  was  organist  and 
teacher  in  New  York  and  Brooklyn  and,  ex- 
cept for  a  sojourn  in  Boston  in  1819-26,  con- 
tinued active  there  until  after  the  Civil  War. 

*Timm,  Henry  Christian  (Hamburg,  1811- 
1892,  New  York),  a  competent  pianist,  came  to 
New  York  in  1835  and  there  and  elsewhere  gave 


concerts,  served  as  organist,  joined  in  chamber- 
music  and  taught.  He  was  often  drawn  into 
operatic  work  as  conductor  or  chorus-master. 
In  1847-64  he  was  president  of  the  Philhar- 
monic Society.  He  wrote  a  grand  mass,  tran- 
scriptions for  two  pianos,  part-songs,  etc. 

*Traetta,  Filippo  (Italy,  1777-1854,  Phila- 
delphia), came  to  Boston  in  1799,  soon  removed 
to  New  York,  toured  with  opera-troupes,  lived 
for  a  time  in  Virginia,  and  settled  in  Phila- 
delphia in  1822.     See  art. 

*Wainwright,  Jonathan  Mayhew  (England, 
1792-1854,  Now  York),  coming  to  America  as 
a  boy,  graduated  at  Harvard  in  1812  and  was 
tutor  there  in  1815-17,  was  Episcopal  minister 
from  1818,  chiefly  in  New  York,  where  from 
1837  he  was  at  St.  John's  and  in  1852-54 
Bishop  of  New  York.     See  Tune-Books. 

Warren,  Samuel  Russel  (d.  1882,  Montreal), 
born  in  Rhode  Island,  was  an  organ-maker 
with  Appleton  in  Boston  about  1830,  went  to 
Montreal  in  1837,  becoming  a  leader  in  the  in- 
dustry in  Canada.     (See  S.  P.  Warren,  sec.  5.) 

*Webb,  George  James  (England,  1803-1887, 
Orange,  N.  J.),  came  to  Boston  in  1830  as  or- 
ganist, singing-teacher  and  colaborer  with 
Mason.  He  removed  to  Orange  in  1870  and 
taught  in  New  York.    See  art.  and  Tune-Books. 

Webb,  Thomas  Smith  (d.  1819),  long  promi- 
nent in  Rhode  Island  as  a  Freemason  and  in- 
terested in  developing  lodge-music,  was  one  of 
the  founders  of  the  Handel  and  Haydn  Society  of 
Boston  in  1815  and  for  two  years  its  conductor. 

White,  John  (Abington,  Mass.,  1785-1865, 
Barre,  Mass.) ,  was  a  pioneer  American  violin- 
maker,  beginning  in  1802.  In  1806  he  removed 
to  Barre.  His  sons,  Ira  J.  White  (Barre,  1813- 
1895)  and  Asa  Warren  White  (Barre,  1826- 
1893),  continued  the  family  tradition  with 
success.     See  Violinist's  Guide,  1916,  p.  18. 

Willard,  Benjamin  W.,  originally  a  maker  of 
clocks,  began  making  'cellos  and  basses  at  Lan- 
caster, Mass.,  about  1805  and  by  1810  had 
produced  about  sixty  instruments. 

Winchester,  Amasa,  was  conductor  of  the 
Handel  and  Haydn  Society  in  Boston  in  1819-26. 

*Wise,  John  J.,  from  1829  till  after  1850  a 
leading  piano-maker  in  Baltimore,  instituted 
several  useful  features  in  action,  stringing  and 
sound-boards.  From  about  1860  the  business 
was  continued  by  his  sons. 

*Wood,  Mary  Anne,  nee  Paton  (Scotland 
1802-1864,  England),  a  brilliant  and  charming 
soprano,  with  her  husband  Joseph  Wood,  a 
good  tenor,  appeared  from  1833  in  New  York 
and  other  cities  with  striking  success.  See 
Vol.  iii.  653-4. 

*Zeuner,  Charles  (Saxony,  1795-1857,  Phil- 
adelphia, suicide),  came  to  Boston  in  1824, 
where  he  was  organist  at  Park  Street  Church 
and  in  1830-37  for  the  Handel  and  Haydn 
Society,  besides  being  a  leader  in  other  artistic 
enterprises.  In  1854  he  went  to  Philadelphia 
as  organist.  Besides  much  church-music,  he 
composed  an  oratorio,  '  The  Feast  of  Taber- 
nacles'  (1832).     See  Tune-Books. 


4:  1840-1860] 


CHRONOLOGICAL  REGISTER 


21 


In  a  survey  such  as  this  the  decades  before  and  after  1850  cannot  well  be 
separated,  although  combining  them  makes  a  period  that  is  somewhat  un- 
wieldy. 

At  this  time  the  attention  to  'psalmody,'  though  absolutely  greater  in 
amount,  became  relatively  much  less  significant.  After  1850  it  tended  to 
change  in  character  and  to  divide  into  two  lines  of  effort,  which  diverged  more 
and  more  (see  Tune-Books). 

The  salient  note  of  the  time  was  the  increased  contact  in  musical  matters 
between  America  and  Europe.  From  1840  American  students  began  to  go 
abroad  for  training,  especially  to  Germany.  And  from  even  before  that  date, 
as  previously  stated,  the  tide  of  immigration  from  Europe,  especially  from 
Germany  and  Austria,  began  to  be  impressive. 

From  about  1850  American  audiences  had  the  chance  to  hear  visiting  art- 
ists of  ability  and  magnetic  power,  besides  several  good  visiting  orchestras. 
Their  concerts  in  many  cases  aroused  remarkable  enthusiasm,  tended  to 
spread  a  knowledge  of  standard  musical  works  and  of  executive  skill,  and  did 
much  to  stimulate  efforts  for  individual  and  local  improvement. 

Although  the  number  of  names  plainly  worthy  of  mention  now  becomes 
considerable,  it  is  certain  that  the  number  should  be  larger.  A  list  like  this 
must  confine  itself  to  such  data  as  are  now  accessible.  Further  investigation 
should  add  to  this  material. 


4.    The  Middle  of  the  19th  Century  — 
1840-1860 

a  Becket,  Thomas  (Philadelphia,  1843-1918, 
Philadelphia) ,  a  pupil  of  his  father  and  Engelke, 
appeared  as  pianist  in  1850  and  at  intervals 
later,  but  made  a  specialty  of  accompanying 
leading  artists.  He  became  a  favorite  teacher 
and  for  almost  half  a  century  taught  at  Girard 
College.  He  was  also  valued  as  an  editorial 
adviser. 

Adams,  Charles  R.  (Charlestown,  Mass., 
1834-1900,  West  Harwich,  Mass.),  a  concert- 
tenor  from  1856,  from  1861  also  an  operatic 
singer  in  Europe,  and  from  1877  conspicuous 
in  Boston.     See  art. 

Aiken,  Charles  (Goffstown,  N.  H.,  1818- 
1882,  Cincinnati),  graduated  from  Dartmouth 
in  1838,  studied  under  Lowell  Mason  and 
from  1844  was  music-director  and  teacher- 
trainer  in  the  Cincinnati  public  schools,  pro- 
ducing extraordinary  results  (as  shown  in 
festivals  from  1873). 

Aiken,  Henry  M.  (b.  1824?),  a  bass  in  Bos- 
ton from  about  1842  who  continued  active  in 
church-music  and  oratorio  for  fifteen  years. 

*Albrecht,  H.  F.  (d.  1875,  at  sea),  a  Meck- 
lenburger  (with  the  Germania  Orchestra  in 
1848),  noted  as  collector  of  a  remarkable 
musical  library  finally  sold  to  J.  W.  Drexel  of 
Philadelphia.  He  was  greatly  interested  in 
the  communistic  ideas  of  Cabet,  and  about 
1850  joined  the  latter's  colony  at  Nauvoo, 
111.,  moving  to  Philadelphia  about  1856.  See 
Ritter,  Music  vi  America,  chap.  xvii. 

Allen,  Benjamin  Dwight  (Sturbridge,  Mass., 
1831-1914,  Wellesley,  Mass.),  from  1845  was 
identified  with  Worcester,  Mass.,  as  teacher 
and  organist,  from  1894  was  professor  at 
Beloit  College,  in  1902-05  was  organist  in  New 
York,  and  then  retired.     See  art. 


Allen,  George  N.  (1812-1877,  Cincinnati), 
early  a  pupil  of  Lowell  Mason  and  a  graduate 
of  Oberlin  in  1838,  becoming  musical  instruc- 
tor there  and  in  1841-64  professor  of  sacred 
music.  He  organized  a  chorus  and  orchestra, 
and  prepared  the  way  for  the  Oberlin  Con- 
servatory in  1865.  In  1844  he  compiled  a  hymn- 
book,  including  original  tunes  and  even 
hymns.     In  1848-77  he  also  taught  geology. 

*Anschutz,  Karl  (Rhine  Prov.,  1815-1870, 
New  York),  son  of  a  well-known  musician  of 
Coblenz,  after  being  head  of  his  father's 
school  there  and  conductor  and  teacher  in 
London,  came  to  New  York  in  1857  as  director 
for  Strakosch.  In  1862  he  made  an  early 
and  creditable  attempt  to  establish  German 
opera,  and  in  1860-62  led  the  Arion  Society. 

*Appy,  Henri  (b.  Holland,  1828),  who  had 
had  concert-experience  in  Holland,  came  to 
America  in  1851,  toured  with  Mme.  Bis- 
caccianti  and  Jenny  Lind,  and  became  a  teacher 
and  conductor  in  Rochester,  N.  Y. 

*Arbuckle,  Matthew  (Scotland,  1828-1883, 
New  York),  came  to  America  in  1853,  was 
long  associated  with  Gilmore  and  became  a 
well-known  cornettist.  He  wrote  a  cornet- 
method. 

*Arditi,  Luigi  (Italy,  1822-1903,  England), 
from  before  1840  noted  in  Italy  as  violinist, 
composer  and  conductor,  from  1846  was  opera- 
conductor  for  Marty  in  Havana  and  from  1847 
in  New  York,  returning  often  during  the  next 
forty-five  years.     See  Vol.  i.  102-3. 

*Balatka,  Hans  (Moravia,  1827-1899,  Chi- 
cago), well  trained  in  Vienna  and  choral  con- 
ductor there,  came  to  Milwaukee  in  1849, 
founded  and  conducted  the  Musikverein  in 
1851-60,  when  he  moved  to  Chicago  to  lead 
the  Philharmonic  Society  and  the  Musical 
Union.  In  subsequent  years  he  directed  other 
organizations    in    Chicago    and     Milwaukee, 


22 


CHRONOLOGICAL  REGISTER 


[4:  184D-1860 


toured  in  1870  with  Mme.  Pappenheim,  and 
composed  a  cantata,  many  choruses,  some 
.songs  and  orchestral  fantasias,  etc. 

Barnabee,  Henry  Clay  (Portsmouth,  N.  H., 
1833-1917,  Boston),  about  1854  became  popu- 
lar as  singer  and  comedian,  continuing  active 
for  over  fifty  years.  Before  1870  he  organized 
companies  to  give  light  opera,  from  1879  was 
with  the  Boston  Ideal  Opera  Company,  and  in 
1887,  with  Karl,  organized  The  Bostonians,  in 
all  these  enterprises  being  strikingly  successful. 
He  published  My  Wanderings,  1913. 

Bassford,  William  Kipp  (New  York,  1839- 
1902,  New  York),  from  about  1855  was 
prominent  in  New  York  as  pianist,  teacher 
and  composer.     See  art. 

'  Battel!,  Robbins  (Norfolk,  Conn.,  1819- 
1895,  Norfolk),  graduated  from  Yale  in  1839 
and  became  prominent  in  business  and  civic 
life.  For  years  (till  1851)  he  led  an  enterpris- 
ing choral  society  and  from  1875  instituted  vari- 
ous musical  undertakings  in  or  near  Norfolk. 
In  1854-90  he  and  his  brother  endowed  the 
professorship  of  music  at  Yale  —  one  of  many 
large  benefactions.  The  Litchfield  County 
Choral  Union  was  founded  in  his  memory  in 
1899  by  his  son-in-law,  Carl  Stoeckel. 

*Berge,  William  (d.  1883,  New  York),  came 
to  New  York  in  1846  and  became  favorably 
known  as  pianist  and  writer  of  arrangements 
and  transcriptions. 

*Bergmann,  Karl  (Saxony,  1821-1876,  New 
York),  came  to  America  in  1850,  joined  the 
Germania  Orchestra,  was  a  leading  conductor 
in  Boston  and  from  1855  in  New  York,  and  was 
also  a  competent  'cellist.     See  Vol.  i.  308-9. 

*Bergner,  Frederic  (Baden,  1827-  ?  ,  New 
York),  came  to  New  York  in  1849,  and  was 
leading  'cellist  in  the  Philharmonic  Society 
for  over  forty  years,  besides  playing  in  the 
Eisfeld  and  Mason-Thomas  quartets. 

Bethune,  Thomas  G.  ['  Blind  Tom  ']  (Co- 
lumbia, Ga.,  1849-1908,  Hoboken,  N.  J.),  a 
negro,  blind  and  half-witted,  who  yet  evinced 
from  1858  singular  gifts  as  player  and  im- 
proviser  on  the  piano  in  concerts  at  many 
places. 

*Biedermann,  August  Julius  (Saxony,  1825- 
1907,  New  York),  came  to  America  in  1848, 
settled  in  Milwaukee  as  piano-teacher  and 
composer,  and  from  1859  worked  in  New  York. 

Biscaccianti,  Eliza,  nee  Ostinelli  (Boston, 
1825-  ?  ),  daughter  of  an  Italian  violinist  of 
Boston,  after  studying  in  Italy,  appeared  there 
in  opera  in  1847  and  also  in  America,  extend- 
ing her  tours  to  California  in  1853-4.  She 
ultimately  settled  in  Rome. 

*Bishop,  Anna,  nee  Riviere  (England,  1814- 
1884,  New  York),  the  noted  soprano,  from 
1847  appeared  in  America  for  some  years  and 
at  intervals  later.  See  Vol.  i.  330-1,  345 
(under  Bochsa). 

Blodgett,  Benjamin  Colman  (b.  Boston, 
1838),  from  1850  was  organist  in  or  near 
Boston,  from  1858  studied  at  Leipzig,  and 
from  1861  was  at  Park  Street  Church,  Boston. 


From  1865  he  taught  in  Pittsfield,  Mass.,  and 
in  1878-1903  was  professor  at  Smith  College, 
was  then  organist  at  Stanford  University, 
and  in  1906  retired  to  Seattle.     See  art. 

*Boudousquie  was  the  projector  of  the  New 
Orleans  Opera  House  in  1859  and  its  manager 
for  some  years,  continuing  the  high  standard 
previously  established  by  Davis. 

*Brandeis,  Frederic  (Austria,  1835-1899, 
New  York),  arriving  in  New  York  in  1849, 
from  1851  became  a  valued  pianist,  organist, 
conductor  and  composer.     See  art. 

*Brignoli,  Pasqualino  (d.  1884,  New  York), 
an  Italian  tenor  who  first  appeared  in  New 
York  in  1855  and  was  thenceforward  extremely 
popular  in  opera.  Though  rather  stiff  as  an 
actor,  his  voice  and  method  made  him  famous. 
See  Upton,  Musical  Alemories,  pp.  121-5,  etc. 

*Brinkerhoff,  Clara  M.,  nee  Rolph  (England, 
before  1830-  ?  ),  came  to  America  as  a  child, 
was  carefully  trained  in  singing  and  first  ap- 
peared in  New  York  about  1845.  For  more 
than  forty  years  she  was  prominent  in  concert 
and  oratorio  and  as  a  teacher.  After  1861 
she  concertized  in  Europe. 

Bristow,  George  Frederick  (Brooklyn,  1825- 
1898,  New  York),  even  before  1840  known  as 
violinist,  and  later  conspicuous  as  organist, 
conductor  and  composer.     See  art. 

*Bull,  Die  Bornemann  (Norway,  1810-1880, 
Norway),  the  celebrated  violinist,  from  1843 
made  several  visits  to  America,  and  in  1852 
projected  a  Norwegian  colony  in  Pennsylvania. 
See  Vol.  i.  418-20,  and  art. 

Campbell,  Francis  Joseph  (Winchester, 
Tenn.,  1832-1914,  England),  educated  at  the 
school  for  the  blind  in  Nashville,  became 
musical  instructor  there  in  1850  and  at  Perkins 
Institute  in  Boston,  studied  in  Germany,  and 
from  1871  developed  a  notable  enterprise  in 
London  that  became  the  Royal  Normal  Col- 
lege for  the  Blind  at  Upper  Norwood.  In 
1886  and  '88  he  made  tours  with  pupils  in 
America.  He  was  knighted  in  1909,  and  was 
an  Officier  de  I'Academie. 

*Cappa,  Carlo  Alberto  (b.  Sardinia,  1834), 
from  1858  was  a  noted  band-master  and  trom- 
bonist in  New  York. 

*Carter,  Henry  (England,  1837-  ?  )  from 
1854  was  organist  at  Quebec  Cathedral,  from 
1864  in  Boston  and  Providence  and  from  1873 
at  Trinity  Church,  New  York,  in  1880-83 
taught  in  Cincinnati  and  was  then  again  in 
Brooklyn  and  New  York.      See  art. 

*Castle,  William  (England,  1836-1909, 
Chicago),  from  1858  till  about  1890  was  a  well- 
known  operatic  and  concert-tenor,  and  later 
teacher  in  Chicago. 

Christy,  Edwin  T.,  from  about  1844  one  of 
the  best-known  promoters  of  negro  '  minstrel ' 
entertainments. 

*Clarke,  James  Peyton  (Scotland,  1808- 
1877,  Toronto),  previously  organist  in  Edin- 
burgh, came  to  Canada  in  1835,  settling  in 
1840  at  Toronto,  where  from  1845  he  was  in- 
structor  in  the   University,   organist  of  the 


4:  1840-1860] 


CHRONOLOGICAL  REGISTER 


23 


Cathedral  and  leader  of  choral  societies.  Mus. 
D.  of  Toronto  University  in  1856. 

Clarke,  William  Horatio  (Newton,  Mass., 
1840-1913,  Reading,  Mass.),  organist  from 
1856,  after  foreign  study,  went  in  1871  to 
Dayton,  O.,  as  public-school  supervisor  and 
thence  as  organist  to  Indianapolis.  In  1878- 
87  he  was  organist  in  Boston.     See  art. 

Coleman,  Obed  M.  (Barnstable,  Mass., 
1817-1845),  a  pioneer  in  improving  the  accor- 
dion, in  1844  patented  an  '  asolian  attachment  ' 
(set  of  reeds)  for  pianos,  which  was  first  popu- 
larized by  Gilbert  in  1847. 

Cornell,  John  Henry  (New  York,  1828- 
1894,  New  York),  from  1848  was  an  important 
organist,  teacher,  theorist  and  composer  in 
New  York.     See  art. 

Cross,  Michael  Hurley  (Philadelphia,  1833- 
1897,  Philadelphia),  from  1848  noted  as  or- 
ganist and  conductor,  mostly  in  Philadelphia. 
See  art. 

*Crouch,  Frederick  William  Nicholls  (Eng- 
land, 1808-1896,  Portland,  Me.),  'cellist  and 
singer,  came  to  New  York  in  1849  with  Ma- 
retzek,  and  worked  in  Portland,  Philadelphia, 
Washington,  Richmond  and  Baltimore  as 
singer  and  teacher.  He  wrote  many  popular 
songs  and  two  operas.     See  Vol.  i.  641-2. 

Cutler,  Henry  Stephen  (Boston,  1825-1902, 
Boston),  after  training  in  Germany  in  1844-46, 
from  1852  was  organist  at  the  Church  of  the 
Advent,  Boston,  in  1858-65  at  Trinity  Church, 
New  York,  and  then  in  Brooklyn,  Providence, 
Philadelphia  and  Troy.  Mus.D.  of  Columbia 
University  in  1864. 

Banks,  Hart  Pease  (New  Haven,  1834- 
1903,  Philadelphia),  a  church-singer  before 
1850,  especially  in  Chicago,  where  he  also 
took  up  writing  hymn-tunes  and  popular 
songs.  Some  of  the  latter  had  wide  circula- 
tion.    He  also  wrote  anthems  and  an  operetta. 

Davis,  George  H.  (d.  1879,  Boston),  was 
partner  of  the  Hallets  in  Boston  from  1843, 
contributing  much  to  the  success  of  the  Hallet 
&  Davis  pianos. 

Decker,  Myron  A.  (Manchester,  N.  Y., 
1823-1901,  New  York),  early  trained  as  piano- 
maker  in  Albany,  opened  a  factory  there  in 
1856,  achieved  decided  success  and  in  1859 
removed  to  New  York.  After  some  vicissi- 
tudes, in  1875  the  firm  of  Decker  &  Son  was 
formed  by  including  Frank  C.  Decker,  who  is 
head  of  the  present  business. 

Deems,  James  Monroe  (Baltimore,  1818- 
1901,  Baltimore),  early  showed  ability  in 
band-music,  from  1839  studied  'cello  under 
Dotzauer  in  Dresden,  taught  and  played  in 
Baltimore,  in  1849-58  was  music-instructor  at 
the  University  of  Virginia,  went  abroad  again, 
from  1861  was  in  the  Civil  War  (becoming 
Brigadier-General) ,  and  then  resumed  musical 
work  in  Baltimore.  He  wrote  an  opera,  a  comic 
operetta  and  the  oratorio  '  Nebuchadnezzar.' 
See  Mathews,  Hundred  Years,  pp.  298-300. 

Doane,  William  Howard  (Preston,  Conn., 
1832-1915,  Cincinnati),  was  all  his  life  engaged 


in  making  wood-working  machinery,  but  was 
also  musically  active.  He  studied  under  B. 
F.  Baker  in  Boston  and  other  teachers,  and 
from  1862  became  one  of  the  best  of  the  many 
writers  of  '  Gospel  hymns.'  He  made  a  con- 
siderable collection  of  instruments.  Mus.  D. 
of  Denison  University  in  1875. 

*Dohn,  Adolph  W.,  a  Chicago  business-man 
who  in  1858-65  was  conductor  of  the  Men- 
delssohn Society  and  in  1872-74  the  first 
permanent  conductor  of  the  Apollo  Club.  See 
Upton,  Musical  Memories. 

*Dresel,  Otto  (Rhine  Prov.,  1826-1890, 
Beverly,  Mass.),  came  to  New  York  in  1848 
as  concert-pianist  and  settled  in  Boston  in 
1852.     See  art. 

Dwight,  John  Sullivan  (Boston,  1813-1893, 
Boston),  founder  and  editor  of  a  notable 
'  Journal  of  Music,'  1852-81.  See  Vol.  i.  759, 
and  art. 

*Eberhard,  Ernst  (Hanover,  1839-1910?, 
New  York),  came  to  New  York  before  1860, 
was  organist  in  various  churches,  conducted 
choral  societies  and  orchestral  concerts,  and 
in  1876  established  the  Grand  Conservatory. 
He  prepared  several  instruction-books. 

*Eichberg,  Julius  (Rhine  Prov.,  1824-1893, 
Boston),  came  to  New  York  in  1856  and  from 
1859  was  conductor  and  eminent  educator  in 
Boston.     See  Vol.  i.  770,  and  art. 

*Eisfeld,  Theodor  (Brunswick,  1816-1882, 
Hesse),  violinist  and  conductor,  was  influen- 
tial in  New  York  in  1848-66,  returning  then 
to  Wiesbaden.     See  art. 

Emerick,  Albert  G.  (Philadelphia,  1817- 
?  ,  Philadelphia),  who  had  been  organist 
since  1832,  in  1841  compiled  a  successful  col- 
lection of  people's  songs  and  later  was  corre- 
spondentformusical  papers.  From  1850heman- 
aged  high-class  concert-series  in  Philadelphia. 

Emerson,  Luther  Orlando  (Parsonsfield, 
Me.,  1820-1915,  Hyde  Park,  Mass.),  one  of 
the  most  facile  of  the  later  '  psalmody  '  com- 
posers, active  from  about  1840  at  Salem, 
Boston  and  Greenfield,  Mass.,  with  various 
tune-books  from  1853  (see  Tune-books).  He 
was  in  request  as  conductor  of  '  conventions.' 
Mus.D.  of  Findlay  College  in  1891.  See  Hall, 
Gospel  Song  and  Hymn  Writers,  pp.  44-9. 

Emmett,  Daniel  Decatur  (Mt.  Vernon,  O., 
1818-1904,  Mt.  Vernon),  from  1843  was  fore- 
most in  developing  '  negro  minstrel '  troupes, 
with  New  York  as  a  center.  In  1859,  while 
with  Bryant,  he  wrote  the  song  'Dixie.'    See  art. 

Everett,  L.  C.  (1818-1867)  and  Everett, 
Asa  Brooks  (1828-1875),  two  Virginians  who 
studied  music  in  Boston  (the  younger  also 
four  years  at  Leipzig),  organized  a  system  of 
normal  instruction  at  Richmond  in  the  '50s 
which  had  results  analogous  to  Mason's  in  the 
North.  In  1861  they  had  fifty  teachers  of 
singing-schools  representing  them  and  using 
their  publications.     See  Hall,  pp.  96-100. 

Fairlamb,  James  Remington  (Philadelphia, 
1S38-1908,  New  York),  from  1852  organist 
in  Pliiladelphia,  in   1859-61   studied  at  Paris 


24 


CHRONOLOGICAL  REGISTER 


[4:  1840-1860 


and  Florence,  then  consul  at  Zurich,  continu- 
ing musical  culture  in  many  ways,  in  1865-72 
mostly  in  Washington  as  organist,  and  then 
organist  and  teacher  in  New  York.  He  wrote 
many  songs,  choral  and  church  works,  and  the 
operas  '  Val6rie  '  (privately  given  in  Wash- 
ington), '  Treasured  Tokens  '  (Pliila.),  '  Love's 
Stratagem  '  and  '  The  Interrupted  Marriage.' 

♦Fischer,  John  U.  (b.  Italy,  1816)  and 
Fischer,  Charles  S.  (b.  Italy,  1818),  learned 
piano-making  in  Naples  from  their  father  and 
grandfather  (of  Austrian  descent),  came  to  New 
York  in  1839  and  in  1840  succeeded  to  part 
of  the  Nunns'  business,  which  they  developed 
into  artistic  and  commercial  success.  In  1873 
John  returned  to  Italy  and  Charles  was  then 
joined  by  his  four  sons. 

Fischer,  William  Gustavus  (Baltimore, 
1835-1912,  Philadelphia),  a  book-binder  in 
Philadelphia,  developed  capacity  as  music- 
teacher  and  leader  of  choruses,  in  1858-68 
was  instructor  at  Girard  College  (preceding 
a  Becket)  about  1868  became  a  prosperous 
piano-dealer  (retired  in  1898),  was  prominent 
as  leader  of  Welsh  choral  societies  (Penn  Bi- 
centenary, 1881),  and  as  composer  of  '  Gospel 
hymns.'     See  Hall,  pp.  130-2. 

*Formes,  Karl  Johann  (Rhine  Prov.,  1816- 
1889,  San  Francisco),  who  had  been  since  1842 
a  noted  operatic  bass  in  Europe,  from  1857  at 
intervals  for  twenty  years  was  often  heard  in 
America,  finally  settling  as  teacher  in  San 
Francisco.     See  Vol.  ii.  88,  and  art. 

Foster,  Stephen  Collins  (Pittsburgh,  1826- 
1864,  New  York),  a  spontaneous  writer  of 
popular  songs  in  Pittsburgh  till  1860,  then 
in  New  York.     See  Vol.  ii.  90-1,  and  art. 

*Fries,  Wulf  (Holstein,  1825-1902,  Rox- 
bury,  Mass.),  who  had  been  'cellist  in  Nor- 
way, came  to  Boston  with  his  brother  August 
Fries  (b.  1822)  in  1847,  long  continuing  promi- 
nent as  a  player.     See  art. 

Fry,  William  Henry  (Philadelphia,  1813- 
1864,  W.  Indies),  a  journalist  in  New  York  and 
from  1845  composer  of  operas,  orchestral 
pieces,   cantatas  and  songs.     See  art. 

*Gabler,  Ernest  (d.  1883,  New  York),  a 
Silesian  piano-maker,  came  to  New  York  in 
1851  and  in  1854  established  a  firm  that  still 
continues. 

*Gemiinder,  August  Martin  Ludwig  (Wiir- 
temberg,  1814-1895,  New  York),  gifted  violin- 
maker,  trained  by  Vuillaume,  came  to  Spring- 
field, Mass.,  in  1846,  and  was  joined  by  his 
equally  able  brother,  Georg  Gemiinder  (1816- 
1899).  Later  they  worked  in  Boston  and  New 
York,  establishing  a  notable  business,  still 
continued  by  descendants.     See  art. 

*Gilmore,  Patrick  Sarsfield  (Ireland,  1829- 
1892,  St.  Louis),  a  band-master  who  came  to 
Canada  about  1845,  went  to  Salem  in  1849 
and  thence  to  Boston,  organizing  a  famous 
band  that  traveled  widely.  See  Vol.  ii.  169, 
and  Upton,  Musical  Memories,  pp.  194-206. 

*Goldbeck,  Robert  (Prussia,  1839-1908,  St. 
Louis),  early  noted  as  pianist,  from  1857  was 


in  New  York,  from  1868  in  Chicago,  from  1873 
in  St.  Louis,  from  1880  again  in  New  York, 
etc.,  becoming  famous  as  player,  teacher,  con- 
ductor and  composer.     See  art. 

Gottschalk,  Louis  Moreau  (New  Orleans, 
1829-1869,  Brazil),  the  original  and  talented 
pianist,  trained  in  Paris,  where  he  made  his 
debut  in  1844,  who  from  1853  gave  concerts 
throughout  the  United  States.  See  Vol.  ii. 
205,  and  art. 

Guiraud,  Ernest  (New  Orleans,  1837-1892, 
France),  produced  his  first  opera  in  New 
Orleans  in  1852,  but  was  later  wholly  identi- 
fied with  Paris,  from  1876  as  professor  in  the 
Conservatoire.     See  Vol.  ii.  259,  and  art. 

*Hagen,  Theodor  (Hamburg,  1823-1871, 
New  York),  came  to  New  York  in  1854, 
edited  '  The  Musical  Gazette,'  later  called 
'  The  Musical  Review  and  Gazette,'  and  was  a 
useful  journalist  and  critic.  While  still  in 
Germany  he  wrote  articles  for  the  '  Neue 
Zeitschrift,'  Civilisation  mid  Musik,  1845,  and 
Musikalische  Novellcn,  1848. 

*Haines,  Napoleon  J.  (England,  1824-1900, 
New  York),  and  his  brother  Francis  W.  Haines 
(1822-1887,  New  York),  came  to  New  York  as 
boys,  from  1839  worked  at  piano-making  under 
A.  H.  Gale,  in  1851  opened  their  own  factory 
and  rapidly  gained  a  solid  reputation.  They 
kept  abrea.st  of  all  improvements  and  were 
among  the  first  (about  1870)  to  foresee  the 
popularity  of  the  upright.  N.  J.  Haines  was 
a  foremost  financier  during  the  Civil  War  and 
afterward.  The  Haines  piano-business  is  now 
part  of  the  American  Piano  Company. 

Hamlin,  Emmons  (d.  1881,  Boston),  a  work- 
man in  Prince's  melodeon-factory  in  Buffalo, 
in  1847  made  discoveries  in  adjusting  the  reeds 
then  used  which  greatly  improved  their  tone. 
In  1854  he  joined  Henry  Mason  of  Boston 
in  the  firm  of  Mason  &  Hamlin. 

Haynes,  John  C.  (Brighton,  Mass.,  1830- 
1907,  Boston),  became  a  clerk  for  Ditson  in 
1845,  was  admitted  to  the  firm  in  1857,  and 
in  1889,  after  Ditson's  death,  was  made  presi- 
dent. 

Hays,  William  Shakespeare  (Louisville, 
1837-1907,  Louisville),  began  to  write  popular 
songs  in  1853  and  gradually  became  widely 
known.  In  later  life  he  was  on  the  staff  of  the 
Louisville    '  Courier-Journal.' 

Hazleton,  Henry  (b.  New  York,  1816),  was 
an  apprentice  in  Dubois  &  Stodart's  piano- 
making  shop  in  New  York  from  1831,  began 
business  at  Albany  in  1838,  moved  to  New 
York  in  1841,  and  in  1849,  with  his  brothers 
Frederick  Hazleton  and  later  John  Hazleton, 
established  the  firm  of  Hazleton  Brothers, 
whose  excellent  reputation  has  been  kept  up 
by  their  descendants. 

*Healy,  Patrick  Joseph  (Ireland,  1840-1905, 
Chicago),  brought  to  Boston  as  a  boy  and 
employed  in  music-stores,  developed  such 
ability  that  in  1864  Ditson  sent  him,  with 
George  W.  Lyon,  to  Chicago  to  establish  a 
branch  house.     Lyon  &   Healy   soon  ranked 


4:  1840-1860] 


CHRONOLOGICAL  REGISTER 


25 


among  the  leading  music-dealers  of  the  coun- 
try, specializing  in  the  production  of  instru- 
ments of  many  kinds,  including  harps,  violins, 
pianos  and  organs.  See  Dolge,  Pianos  and 
their  Makers,  pp.  350-4. 

*Heintzmann,  Theodore  A.  (Prussia,  1817- 
1899,  Toronto),  an  experienced  piano-maker, 
came  to  New  York  in  1850,  went  to  Buffalo 
in  1853  and  in  1860  to  Toronto,  becoming  the 
pioneer  manufacturer  in  Canada. 

*Held,  Ernst  Carl  Eberhardt  (Saxony,  1823- 
1913?,  Syracuse),  originally  a  mining-engineer 
in  Prussia,  joined  in  the  revolution  of  1848  and 
then  migrated  to  America,  and  from  1849  was 
teacher,  composer  and  writer  in  Syracuse. 
Mus.D.  of  Syracuse  University  in  1903. 

*Hoffman,  Richard  (England,  1831-1909, 
Mt.  Kisco,  N.  Y.) ,  came  to  New  York  in  1847 
and  became  a  leading  pianist  and  composer  for 
the  piano.     See  Vol.  ii.  414-5,  and  art. 

*Hohnstock,  Carl  (Brunswick,  1828-1889, 
Brunswick),  from  1848  till  1860  was  promi- 
nent in  Philadelphia  as  pianist  and  teacher. 
His  sister  Adelaide  Hohnstock  (d.  1856)  was 
associated  with  him. 

*Holmes,  Edward  (England,  1797-1859, 
America),  author  of  works  on  Mozart  and 
Purcell,  etc.,  came  to  America  in  1849  and 
worked  as  editor  and  critic. 

Hopkins,  Edward  Jerome  (Burlington,  Vt., 
1836-1898,  Athenia,  N.  J.),  from  1846  a  self- 
taught  organist,  composer,  lecturer  and  organi- 
zer, from  1856  with  headquarters  at  New 
York.     See  art. 

*Hulskamp,  Gustav  Heinrich,  a  German 
piano-maker  who  worked  in  Troy  from  1850 
and  in  New  York  from  1866,  introducing  many 
improvements  in  construction,  including  strik- 
ing experiments  with   '  symmetrical  '   grands. 

*Huss,  George  John  (Bavaria,  1828-1904, 
New  York),  from  1848  was  organist  and 
piano-teacher  in  or  near  New  York,  with  some 
compositions. 

Jarvis,  Charles  H.  (Philadelphia,  1837- 
1895,  Philadelphia),  began  as  a  child-pianist  in 
1844  and  developed  into,  a  competent  and 
influential  artist.     See  art. 

♦Keller,  Matthias  (Wurtemberg,  1813-1875, 
Boston),  a  band-master  and  violinist  who 
came  to  Philadelphia  in  1846,  was  later  con- 
ductor in  New  York  and  finally  went  to  Bos- 
ton, where  his  '  American  Hymn  '  was  brought 
out  in  1869. 

Kemp,  Robert  ['  Father  Kemp  ']  (Wellfleet, 
Mass.,  1820-1897,  Boston),  a  shoe-dealer  in 
Boston,  started  in  1854  giving  '  old-folks' 
concerts '  of  early  American  music.  See  auto- 
biography, 1868. 

Kimball,  William  Wallace  (Maine,  1828- 
1904,  Chicago),  after  clerical  and  commercial 
experience  in  the  East,  began  dealing  in 
pianos  and  organs  at  Chicago  in  1857,  rapidly 
becoming  prominent,  took  up  reed-organ- 
making  in  1881,  piano-making  in  1887  and 
organ-making  soon  after,  developing  one  of  the 
strongest  establishments  in  the  country. 


*Klauser,  Karl  (Russia  [Swiss  parents],  1823- 
1905,  Farmington,  Conn.),  from  1850  piano- 
teacher,  arranger  and  editor  in  New  York,  and 
in  1856-83  teacher  in  Farmington,  Conn.  He 
edited  Fatnous  Composers,  1891  (with  Thomas 
and  Paine),  and  Half -Hours  with  the  Best  Com- 
posers, 1894. 

*Kotzschmar,  Hermann  (Prussia,  1829- 
1909,  Portland,  Me.),  came  to  America  in  1848 
and  from  1849  was  active  in  Portland  as  organ- 
ist, teacher,  conductor  and  composer.     See  art. 

*Kreissmann,  August  (Saxony,  1823-1879, 
Saxony),  active  in  Boston  from  1849  to  1876  as 
singer,  teacher  and  leader  of  the  Orpheus  Club. 

*Krell,  Albert  (Germany,  1833-1900,  Cin- 
cinnati), of  a  family  of  instrument-makers, 
came  to  America  in  1848  and  was  known  at 
Cincinnati  as  an  expert  violin-maker.  In  1889, 
with  his  sons,  he  started  a  piano-factory. 

Lang,  Benjamin  Johnson  (Salem,  1837-1909, 
Boston),  from  1852  eminent  as  organist  and 
conductor  in  Boston.  See  Vol.  ii.  631-2,  and  art. 

Ludden,  William  (b.  Williamsburg,  Mass., 
1823),  a  pupil  of  Mason  and  Webb,  from  1840 
taught  in  Pittsfield,  Mass.,  from  1842  in  Wil- 
liston  Seminary  at  Easthampton,  was  organist 
and  conductor  in  New  Haven  while  at  Yale 
College,  in  1853-4  studied  singing  in  Paris, 
taught  at  New  Haven  and  from  1862  at 
Chicago,  removing  in  1870  to  Savannah  as 
music-dealer.  He  compiled  a  Pronouncing 
Musical  Dictionary  (terms),  1875. 

Madeira,  Louis  Cephas,  identified  from  1843 
with  the  Musical  Fund  Society  of  Philadel- 
phia till  its  dissolution  in  1858,  first  as  manager 
and  then  as  secretary,  supplied  data  for  Annals 
of  Music  in  Philadelphia  and  History  of  the 
Musical  Fund  Society,  1820-58,  1896  (edited 
by  P.  H.  Goepp). 

*Maretzek,  Max  (Moravia,  1821-1897, 
Staten  Island,  N.  Y.),  an  experienced  violinist 
and  opera-conductor,  brought  to  New  York 
in  1848  by  Fry,  from  1849  till  1878  was  the 
indefatigable  and  usually  clever  manager  of  a 
variety  of  operatic  ventures  in  New  York, 
Havana  and  Mexico,  introducing  many  noted 
singers.  He  wrote  two  operas,  '  Hamlet ' 
(1843)  and  '  Sleepy  Hollow  '  (1879),  orchestral 
music,  etc.,  besides  the  autol^iographic  Crochets 
and  Quavers,  1855,  and  Sharps  and  Flats,  1890. 

Mason,  Daniel  Gregory  (Savannah,  1820- 
1869,  Europe),  son  of  Lowell  Mason,  with  his 
brother  Lowell  was  engaged  in  music-pub- 
lishing in  Boston  from  1853. 

Mason,  Henry  (Boston,  1831-1890,  Boston), 
son  of  Lowell  Mason,  in  1854  with  Emmons 
Hamlin  founded  the  Mason  &  Hamlin  firm  of 
reed-organ-makers,  to  which  in  1869  was 
added  his  brother  Lowell.  Before  this,  in  1861, 
they  had  begun  making  the  improved  '  cabinet 
organ.'  In  1882  the  firm  began  to  make 
pianos  of  the  highest  quality. 

Mason,  Lowell,  Jr.  (Westboro,  Mass.,  1823- 
1885,  Orange,  N.  J.),  son  of  Lowell  Mason,  was 
from  1853  associated  with  his  brother  Daniel 
Gregory   in    the     publishing-firm    of   Mason 


26 


CHRONOLOGICAL  REGISTER 


[4:  1840-1860 


Brotherg,  but,  after  the  latter's  death,  joined 
his  other  brother  in  the  Mason  &  Hamlin  firm. 

Mason,  Luther  Whiting  (Turner,  Me.,  1828- 
1896,  Buckfield,  Me.),  from  1853  music-super- 
visor in  Louisville,  in  1865  moved  to  Boston, 
in  1879-82  was  employed  by  the  Japanese 
government,  and  later  went  abroad.    See  art. 

Mason,  "William  (Boston,  1829-1908,  New 
York),  son  of  Lowell  Mason,  made  his  debut  as 
pianist  at  Boston  in  1846,  studied  in  Germany, 
appeared  in  America  in  1854  and  settled  in 
New  York  as  eminent  player  and  teacher. 
See  Vol.  iii.  74,  and  art. 

*Mathushek,  Frederick  (Baden,  1814-1891, 
New  York),  highly  trained  as  piano-maker  at 
Worms  and  with  Pape  in  Paris,  came  to  New 
York  in  1849,  was  first  associated  with  Dun- 
ham, from  1852  alone,  from  1857  with  Spencer 
B.  Driggs,  from  1866  at  New  Haven  as  head 
of  the  Mathushek  Piano  Co.,  and  from  1871 
in  New  York  again.  He  is  said  to  have 
devised  a  successful '  overstrung  '  scale  in  1850, 
and  soon  after  invented  a  machine  for  hammer- 
covering.  He  had  uncommon  delicacy  of  ear 
and  planned  small  instruments  with  remark- 
able breadth  of  tone.     See  Dolge,  pp.  321-5. 

*Matzka,  George  (b.  Coburg,  1825),  came 
to  New  York  in  1852  and  was  long  identified 
with  the  Philharmonic  Society,  acting  as  con- 
ductor for  a  time  in  1876.  He  wrote  several 
overtures,  two  string-quartets,  a  violin-sonata, 
choruses  and  songs. 

*Merz,  Karl  (Hesse,  1836-1890,  Wooster, 
O.),  came  to  Philadelphia  in  1854,  from  1861 
taught  at  Oxford,  O.,  and  in  1882  became 
professor  in  Wooster  University.     See  art. 

*Meyer,  Julius  Eduard  (Altenburg,  1822- 
1899,  Brooklyn),  an  accomplished  singing- 
teacher,  trained  at  Leipzig,  settled  in  Brooklyn 
in  1852  and  was  active  there  for  over  forty 
years,  though  twice  invited  back  to  Leipzig. 

Millard,  Harrison  (Boston,  1830-1895, 
Boston),  a  singer  from  boyhood,  studied  in 
Italy  in  1851-54,  taught  in  Boston  and  from 
1856  in  New  York,  served  as  lieutenant  in  the 
Civil  War,  and  was  employed  in  the  New 
York  Custom  House  for  many  years.  He 
wrote  an  opera,  '  Deborah,'  a  grand  mass  and 
other  church-music,  many  adaptations  of 
foreign  songs  and  about  350  original  songs. 

Miller,  Henry  F.  (Providence,  1825-1884, 
Wakefield,  Mass.),  had  a  good  musical  edu- 
cation, early  became  an  organist,  besides 
showing  mechanical  genius  and  learning  the 
trade  of  watch-making,  in  1850  took  up  piano- 
making  with  Brown  &  Allen  in  Boston,  in  1858 
with  Emerson,  and  in  1863  in  his  own  Com- 
pany, which  soon  became  famous.  At  his 
death  the  business  was  continued  by  five  sons. 

*Mills,  Sebastian  Bach  (England,  1838- 
1898,  Germany),  came  to  New  York  in  1856 
as  a  visiting  pianist,  and  was  so  warmly  re- 
ceived that  he  remained  as  player,  teacher  and 
composer.     See  Vol.  iii.  210,  and  art. 

*Mollenhauer,  Eduard  (Saxony,  1827-1914, 
Owatonna,  Minn.),  and  his  brother  Friedrich 


MoUenhauer  (1818-1885),  expert  violinists, 
came  to  New  York  in  1853  with  Jullien  and 
remained  as  valued  soloists,  orchestral  players 
and  teachers.  Another  brother,  Heinrich 
MoUenhauer  (1825-1889),  'cellist,  followed  in 
1856  and  established  a  school  in  Brooklyn, 
still  carried  on  by  his  sons. 

Moore,  John  Weeks  (Andover,  N.  H.,  1807- 
1887,  Boston),  began  as  printer  and  editor  of 
country  newspapers  in  Maine,  New  Hamp- 
shire and  Vermont,  settling  finally  in  Man- 
chester, N.  H.  From  before  1840  he  displayed 
interest  in  musical  subjects,  writing  or  editing 
a  variety  of  manuals  and  collections,  partly  in 
periodical  form.  His  chief  works  were  The 
Musician's  Lexicon,  1845-46,  and  a  Complete 
Encyclopedia  of  Music,  1854,  and  Appendix, 
1875,   an  ambitious  production  for  the  time. 

*Morgan,  George  Washbourne  (England, 
1822-1892,  Tacoma,  Wash.),  came  to  New 
York  in  1853  and  served  as  organist  in  a  series 
of  churches.     See  art. 

*Mosenthal,  Joseph  (Hesse,  1834-1896,  New 
York),  a  gifted  violinist,  came  to  New  York  in 
1853  and  was  long  prominent  as  ensemble-player, 
organist,  conductor  and  composer.     See  art. 

*Miiller,  Carl  Christian  (Meiningen,  1831- 
1914,  New  York),  came  to  New  York  in  1854, 
worked  in  a  piano-factory  and  led  Barnum's 
orchestra,  and  from  1879  was  harmony-teacher 
in  the  College  of  Music.     See  art. 

*Neuendor£f,  Adolf  (Hamburg,  1843-1897, 
New  York),  was  brought  to  New  York  in  1855 
and  from  1859  was  active  as  pianist,  violinist, 
conductor,  manager  and  composer.     See  art. 

*Nuno,  James  (Spain,  1824-1908,  Buffalo), 
after  study  in  Italy,  in  1851  came  to  Cuba  as 
bandmaster,  and  went  thence  to  Mexico, 
touring  in  the  United  States  from  1856.  In 
1869  he  settled  in  Buffalo.     See  art. 

Paillard,  M.  J.  (Switzerland,  ?  -1868, 
Switzerland),  in  1850  started  the  New  York 
branch  of  the  famous  Swiss  manufacture  of 
music-boxes,  long  continued  by  others  of  the 
family. 

Palmer,  Horatio  Richmond  (Sherburne,  N. 
Y.,  1834-1907,  Yonkers,  N.  Y.),  from  1852 
active  in  '  conventions,'  popular  choruses  and 
school-instruction,  from  1881  led  the  Church 
Choral  Union  in  New  York  and  from  1887  was 
dean  of  the  Chautauqua  Institution.     See  art. 

Parker,  James  Cutler  Dunn  (Boston,  1828- 
1916,  Boston),  originally  a  law-student,  stud- 
ied at  Leipzig  and  in  1854  settled  in  Boston 
as  organist,  conductor,  teacher,  theorist  and 
composer.     See  art. 

Perkins,  Charles  Callahan  (Boston,  1823- 
1886,  Windsor,  Vt.),  graduated  from  Harvard 
in  1843,  went  to  Italy  to  study  painting,  later 
to  Paris,  where  he  became  equally  interested 
in  music.  In  1849-51  and  1854-57  he  was  in 
Boston,  organizing  musical  activities  and  com- 
posing, in  1850  being  at  the  head  of  the  Handel 
and  Haydn  Society  and  in  1852  the  chief  con- 
tributor to  the  erection  of  the  well-known  Music 
Hall.     After  prolonged  residence  in  Europe, 


4:  1840-1860] 


CHRONOLOGICAL  REGISTER 


27 


in  1869  he  returned  to  Boston  as  critic  and 
patron  of  fine  art  in  general. 

Phelps,  Ellsworth  C.  (b.  Middletown,  Conn., 
1827),  organist  from  1846  at  New  London, 
Syracuse  and  New  York,  and  from  1857  in 
Brooklyn,  engaging  also  in  public-school 
music  and  composing  two  symphonies,  four 
symphonic  poems,  concert-overtures,  two 
comic  operas,  the  cantata  '  David,'  an  ex- 
tended choral  '  Elegie,'  Psalm  145,  etc. 

♦Phillipps,  Adelaide  (England,  1833-1882, 
Bohemia) ,  was  brought  up  in  Boston,  from  1842 
appeared  there  as  a  dancer,  but,  after  training 
in  Italy,  from  1855  became  famous  as  concert- 
and  operatic  contralto.     See  Vol.  iii.  709-10. 

Phillips,  Philip  (near  Chautauqua,  N.  Y., 
1834-1895,  Delaware,  O.),  from  1853  noted  as 
a  leader  of  singing-schools,  from  1860  was  a 
music-dealer  and  pubUsher  in  Cincinnati, 
removing  in  1867  to  New  York,  where  he  pub- 
lished many  popular  song-books,  mostly 
sacred.  His  tenor  voice  made  him  famous  and 
from  1868  he  conducted  '  song-services  '  in  all 
parts  of  the  world.     See  Hall,  pp.  118-23. 

Poole,  Henry  Ward  (Salem,  Mass.,  1825- 
?  ),  brother  of  William  F.  Poole,  the  libra- 
rian, while  a  student  at  Yale  in  1842  became 
absorbed  in  problems  of  musical  acoustics, 
especially  those  of  temperament.  In  1849  at 
Newburyport  he  made  an  enharmonic  organ, 
described  in  1850  in  the  '  American  Jour- 
nal of  Science,'  thus  coming  into  touch  with 
foreign  investigators,  so  that  his  work  is  re- 
peatedly quoted  (as  in  Ellis'  Helmholtz).  He 
also  made  studies  in  the  theory  of  chords. 
His  business  as  mining-engineer  took  him  to 
Mexico  in  1856,  where  he  settled.  See 
Mathews,  Hundred    Years,  pp.  341-6. 

■"Pychowski,  Jan  Nepomucene  (Bohemia, 
1818-1900,  Hoboken,  N.  J.),  a  pianist  and 
teacher  in  New  York  and  Hoboken  from  1850. 
He  was  a  good  composer  of  chamber-  and 
piano-music. 

Richardson,  Nathan  (Reading,  Mass.,  1827- 
1859,  France),  pupil  of  Moscheles,  Dreyschock 
and  others,  compiled  a  piano-method  in  1859 
which  had  much  vogue  for  many  years. 

*Richings,  Caroline,  nee  Bernard  (England, 
1827-1882,  Richmond,  Va.),  brought  to  Amer- 
ica as  a  child,  appeared  as  pianist  at  Phila- 
delphia in  1847  and  in  opera  in  1852,  remaining 
a  favorite  singer  till  about  1870,  and  then 
taught  at  Baltimore  and  Richmond. 

*Ritter,  Frederic  Louis  (Alsace,  1834-1891, 
Belgium),  came  to  Cincinnati  in  1856  as  con- 
ductor and  to  New  York  in  1861,  becoming 
from  1867  professor  at  Vassar  College  and 
well  known  as  composer  and  author.  See 
Vol.  iv.  109,  and  art. 

*Rive,  Caroline,  nee  Staub  (France,  1822- 
1882,  New  York),  pupil  of  Garcia  in  singing 
and  a  good  pianist,  came  to  New  Orleans 
about  1850  and  taught  successfully  there  and 
from  1854  at  Cincinnati. 

Root,  George  Frederick  (Sheffield,  Mass., 
1820-1895,  Bailey's  Island,  Me.),  from  about 


1840  with  Mason  and  Webb  at  Boston,  was 
organist  and  teacher  in  New  York  from  1844, 
studied  a  year  in  Paris,  became  a  music- 
publisher  in  Chicago  in  1859  (business  sold 
in  1871  to  the  John  Church  Co.,  Cincinnati), 
and  wrote  many  songs  and  other  vocal  music. 
See  Vol.  iv.  138-9,  art.  and  Tune-Books. 

*Rudolphsen,  John  Frederick  (Hamburg, 
1827-  ?  ,  Cincinnati),  came  as  violinist  with 
Gungl  in  1849,  appeared  as  opera-singer  in 
1853,  from  1862  taught  in  Boston  and  from 
1879  in  the  Cincinnati  College  of  Music. 

*Ryan,  Thomas  (Ireland,  1827-1903,  New 
Bedford,  Mass.),  came  to  Boston  in  1844,  from 
1849  for  forty  years  played  viola  and  clarinet 
in  the  Mendelssohn  Quintette  Club.  Seo  his 
Recollections  of  an  Old  Musician,  1899. 

Ryder,  Thomas  Philander  (Cohasset,  Mass., 
1836-1887,  Somerville,  Mass.),  from  1856 
organist  at  Hyannis,  later  at  Tremont  Temple, 
Boston,  and  a  popular  teacher,  conductor  and 
composer. 

*Schilling,  Gustav  (Hanover,  1803-1881, 
Nebraska),  who  from  1830  had  been  head  of 
the  Stopel  Music  School  in  Stuttgart  and  a 
prolific  writer  on  theory  and  aesthetics,  came 
to  New  York  in  1857,  in  1859  went  to  Canada, 
from  1871  was  in  Burlington,  la.,  and  thence 
moved  to  Nebraska.  For  a  list  of  his  publi- 
cations (all  in  Europe)  see  Baker,  Dictionary 
of  Musicians,  p.  826. 

*Schirmer,  Gustav  (Saxony,  1829-1893, 
Thuringia),  came  as  a  boy  to  New  York  in 
1837,  was  clerk  in  a  music-store,  from  1854  man- 
ager for  the  publisher  Breusing,  and  from  1861 
his  successor,  building  up  a  business  of  inter- 
national fame.     See  Vol.  iv.  265-6. 

*Schuberth,  Julius  (Saxony,  1804-1875, 
Saxony),  founder  of  a  publishing-house  at 
Hamburg  in  1826,  opened  a  branch  in  New 
York  in  1850,  to  which  later  he  gave  much 
personal  attention.  In  1867  he  started  the 
'  New-Yorker   Musikzeitung.' 

*Schultze,  Wilhelm  Heinrich  (Hanover, 
1828-1888,  Syracuse),  came  to  America  in 
1848  with  the  Germania  Orchestra,  from  1858 
was  leader  of  the  Mendelssohn  Quintette 
Club,  and  from  1877  professor  at  Syracuse 
University.     Mus.D.  there  in  1877. 

Sharland,  John  B.  (Hahfax,  1837-1909,  Bos- 
ton) ,  was  early  in  Chickering's  piano-factory, 
but  turned  to  piano-playing  and  conducting,  led 
many  choral  societies  in  or  near  Boston,  and 
from  about  1870  was  music-supervisor  in  the 
schools.     He  compiled  song-books  from  1865. 

Southard,  Lucien  H.  (Sharon,  Vt.,  1827- 
1881,  Augusta,  Ga.),  studied  in  Boston,  from 
1851  was  music-supervisor  there,  taught  in 
Norfolk;  Va.,  in  1860-61  was  organist  at 
Hartford,  Conn.,  served  in  the  Civil  War,  in 
1865-68  and  1871-75  taught  in  Boston,  and 
in  1868-71  was  head  of  the  Peabody  Con- 
servatory in  Baltimore.     See  art. 

*Steck,  George  (Hesse,  1829-1897,  New 
York),  an  expert  piano-maker,  trained  by 
Scheel  at  Paris,  came  to  New  York  in  1853 


28 


CHRONOLOGICAL  REGISTER 


[4:  1840-1860 


and  in  1857  established  the  firm  that  long 
continued  in  high  repute  (absorbed  in  1904 
into  the  ^Eolian  Company).  He  was  espe- 
cially gifted  in  scale-designing. 

*Steinbrecher,  Frederic  W.  (b.  Prussia, 
1818),  in  1843-44  a  pupil  of  Chopin,  came  to 
Cincinnati  in  1848  as  pianist,  teacher  and 
composer. 

*Steinert,  Morris  (Bavaria,  1831-1912,  New 
Haven,  Conn.),  came  to  America  about  1854, 
played  in  orchestras,  and  about  1865  became 
a  music-dealer  in  New  Haven  and  a  collector 
of  keyboard-instruments.     See  art. 

*Steinway,  Henry  Engelhardt  (Harz,  1797- 
1871,  New  York),  an  established  maker  of 
organs  and  pianos  at  Seesen  since  1820,  came 
to  New  York  in  1851  with  three  sons  (another 
preceded  him  in  1849),  and  in  1853  organized 
the  firm  since  famous  throughout  the  world. 
See  Vols.  iii.  729-32,  iv.  691-2. 

*Stieff,  Charles  M.  (Wiirtemberg,  1805- 
1862,  Baltimore),  came  to  Baltimore  in  1831, 
at  first  as  teacher  of  languages,  but  from  1842 
as  importer  of  pianos.  In  1852  he  went  to 
Europe  to  examine  methods  in  piano-making, 
and  then,  with  two  sons  and  Jacob  Gross 
(b.  1819),  who  had  had  long  experience  before 
coming  to  America  in  1848,  inaugurated  the 
business  that  has  had  an  honorable  record  in 
the  hands  of  his  descendants. 

*Stoeckel,  Gustav  Jakob  (Bavaria,  1819- 
1907,  Norfolk,  Conn.),  came  to  America  in 
1847  and  in  1855-96  was  instructor  and  pro- 
fessor of  music  at  Yale  College. 

*Strakosch,  Maurice  (GaHcia,  1825-1887, 
France),  from  1845  worked  in  New  York  as 
pianist  and  teacher,  and  from  1857  as  man- 
ager, succeeded  by  his  brother  Max  Strakosch 
(1834-1892).     See  Vol.  iv.  713,  and  art. 

Thayer,  Alexander  Wheelock  (Natick, 
Mass.,  1817-1897,  Austria),  graduated  from 
Harvard  in  1843  and  assistant-librarian  there, 
from  1849  was  almost  continuously  in  Europe, 
from  1865  as  consul  at  Trieste,  where  he  pro- 
duced a  monumental  biography  of  Beethoven. 
See  Vol.  V.  79-80,  and  art. 

*Thomas,  John  Rogers  (Wales,  1829-1896, 
New  York),  in  1849  came  to  New  York,  in 
1852  sang  with  the  Seguins  and  other  artists, 
and  wrote  many  popular  songs,  an  operetta, 
church-music,  etc. 

*Thomas,  Theodore  (East  Friesland,  1835- 
1905,  Chicago),  came  to  New  York  as  a  boy 
in  1845,  soon  found  employment  as  violinist, 
touring  from  1851,  and  from  1864  was  con- 
spicuous as  a  phenomenal  organizer  and  con- 
ductor of  orchestras,  living  in  Cincinnati  in 
1878-80  and  moving  to  Chicago  in  1891. 
See  Vol.  V.  88,  and  art. 

*Torrington,  Frederick  Herbert  (England, 
1837-1917,  Toronto),  came  to  Montreal  in 
1856  as  organist  and  violinist,  from  1869  was 
in  Boston,  and  from  1873  was  organist,  con- 
ductor, etc.,  in  Toronto.     See  art. 

Tourjee,  Eben  (Warwick,  R.  I.,  1834-1891, 
Boston),    from    about    1851    teacher    at   Fall 


River,  in  1859  started  a  music-school  at  East 
Greenwich,  R.  I.,  and,  after  a  sojourn  in  Europe 
for  study  of  methods,  founded  larger  schools 
at  Providence  and  in  1867  at  Boston.  See 
Vol.  V.  1.34,  and  art. 

Tuckerman,  Samuel  Parkman  (Boston, 
1819-1890,  Newport,  R.  I.),  organist  in  Boston 
in  1840-49  and  1853-56,  and  from  1864  at 
Trinity  Church,  New  York.  See  Vol.  v.  173-4, 
and  Tune-Books. 

Tufts,  John  Wheeler  (Dover,  N.  H.,  1825- 
1908,  Camden,  Me.),  from  1846  studied  at 
Frankfort  and  Leipzig,  from  1848  was  organist 
and  conductor  at  Bangor,  Me.,  and  later  at 
Portland,  and  from  about  1880  at  Boston, 
where  he  was  efficient  in  promoting  public- 
school  music,  besides  being  for  fifteen  years 
organist  at  King's  Chapel. 

*Urso,  Camilla  (France,  1842-1902,  New 
York),  a  child-prodigy  as  violinist,  appeared 
in  America  in  1852-55  and  again  after  1862, 
when  she  acquired  world-wide  celebrity.  She 
settled  in  New  York  in  1895.     See  art. 

Warner,  James  F.,  published  translations 
of  Gottfried  Weber's  Generalbasslehre  and 
Theorie  der  Tonsetzkunst,  1841-42,  and  a 
Dictionary  of  Musical  Terms,  1842. 

Warren,  George  William  (Albany,  1828- 
1902,  Now  York),  was  organist  at  Albany  from 
1846,  in  Brooklyn  from  1860,  and  from  1870 
at  St.  Thomas',  New  York.     See  art. 

*Watson,  Henry  C.  (England,  1818-1875, 
New  York),  musically  well-educated,  came  to 
New  York  in  1841  and  began  a  notable  editorial 
career,  both  as  critic  for  several  papers  and  as 
founder  in  1843  of  the  '  Musical  Chronicle  ' 
(in  1847  transformed  into  '  The  American 
Musical  Times'),  from  1855  as  the  first  editor 
of  Leslie's  '  Illustrated  Newspaper,'  and  in 
1863  as  founder  of  '  The  American  Art  Jour- 
nal.' He  helped  establish  the  Philharmonic 
Society  and  other  organizations,  and  for  thirty 
years  remained  conspicuous  in  promoting 
musical  progress.  See  Mathews,  Hundred 
Years,  pp.  377-80,  and  Dolge,  pp.  415-6. 

*Weber,  Albert  (Bavaria,  1828-1879,  New 
York),  came  to  New  York  in  1845,  took  up 
piano-making  with  Holder  and  Van  Winkle 
and  about  1852  opened  his  own  shop,  gradually 
developing  from  about  1860  the  solid  repu- 
tation of  his  instruments.  He  was  a  specialist 
in  tone-quality.  The  Weber  business  is  now 
part  of  the  JDolian  Company. 

*Wels,  Charles  (Bohemia,  1825-1906,  New 
York),  pupil  of  Tomaschek  and  from  1847 
Polish  court-musician,  came  to  New  York  as 
pianist,  organist  and  teacher  in  1849.  He 
wrote  an  orchestral  suite  and  overture,  five 
masses,  a  piano-concerto,  many  facile  piano- 
pieces,  part-songs  and  songs. 

White,  Edward  L.,  besides  other  publications 
of  an  educational  character,  made  a  translation 
of  Friedrich  Schneider's  Harmonie  und  Tonsetz- 
kunst (about  1850).     See  also  Tune-Books. 

White,  Henry  Kirk  (d.  1907,  Meriden, 
Conn.),  from  1845  a  maker  of  instruments  in 


4:  1840-1860] 


CHRONOLOGICAL  REGISTER 


29 


Connecticut,  from  1853  at  Washington,  N.  J., 
and  from  about  1860  in  Philadelphia,  was  called 
in  1865  to  the  Estey  factory  at  Brattleboro, 
Vt.,  and  in  1877  joined  H.  C.  Wilcox  at  Meri- 
den,  Conn.,  founding  the  firm  of  Wilcox 
&  White,  makers  of  reed-organs.  His  three 
sons  all  distinguished  themselves  in  develop- 
ing the  industry.     See  Dolge,  pp.  367-70. 

Whiting,  George  Elbridge  (b.  Holliston, 
Mass.,  1842),  an  organist  from  1855,  from 
1858  was  Buck's  successor  at  Hartford,  and 
since  1862  has  been  mostly  identified  with 
churches  in  Boston,  and  an  eminent  teacher. 
See  Vol.  V.  517-8,  and  art. 

Whitney,  Myron  William  (Ashby,  Mass., 
1836-1910,  Sandwich,  Mass.),  after  study  in 
England  and  Italy,  in  1858  began  a  notable 
career  as  operatic  and  concert-bass  in  Boston. 
See  art. 

Willcox,  John  Henry  (Savannah,  1827-1875, 
Boston),  graduated  from  Trinity  College 
(Hartford)  in  1849,  settled  as  organist  in 
Boston  and  was  noted  as  a  talented  player  and 
as  expert  in  organ-construction,  as  well  as 
writer  of  Catholic  church-music. 

*Williams,  Victor  (b.  Sweden,  1816),  from 
about  1840  was  a  well-known  teacher  in 
Cincinnati,  for  more  than  twenty  years  in 
public-school  work. 

WUlis,  Richard  Storrs  (Boston,  1819-1900, 
Detroit),  graduated  from  Yale  in  1841,  studied 
in  Germany  and  settled  in  New  York  as  a 
literary  worker,  editing  '  The  Musical  Times  ' 
and  '  The  Musical  World,'  writing  and  compil- 
ing vocal  music,  especially  Church  Chorals, 
1850,  and  writing  also  the  practical  hand- 
book Our  Church  Music,  1855. 

Wilson,  Henry  (Greenfield,  Mass.,  1828- 
1878,  Hartford,  Conn.),  studied  in  Boston 
and  Leipzig,  from  about  1850  was  organist 
at  Greenfield,  in  Springfield  in  1854,  and  from 
1855  at  Hartford,  becoming  widely  known  as 
player,  choir-master  and  composer  of  church- 
music.     See  art. 

*Wolfsohn,  Carl  (Hesse,  1834-1907,  New 
Jersey),  already  known  in  the  Rhine  Valley 


as  pianist,  came  to  Philadelphia  in  1854,  from 
1856  was  associated  with  Thomas  in  chamber- 
concerts  there  and  on  tour,  organized  the 
Beethoven  Society  in  1869,  removed  to 
Chicago  in  1873  and  organized  a  similar 
society  there,  continued  till  1884.     See  art. 

*WoUenhaupt,  Hermann  Adolf  (Saxony, 
1827-1863,  New  York),  came  to  New  York  in 
1845  as  concert-pianist  and  teacher  of  brilliance 
and  popular  power.  In  1855  he  made  a 
European  tour.  He  composed  about  100 
piano-pieces  in  a  fluent  and  clever  style. 

Wood,  David  Duffield  (Pittsburgh,  1838- 
1910,  Philadelphia),  trained  in  Philadelphia 
in  the  Institute  for  the  Blind,  was  instructor 
there  from  1853  and  from  1864  also  organist 
at  St.  Stephen's,  becoming  noted  as  player, 
teacher  and  composer.     See  art. 

Woodman,  Jonathan  Call  (Newburyport, 
Mass.,  1813-1894,  Brooklyn),  about  1840 
associated  with  Mason  in  Boston  and  an 
oratorio-singer,  was  later  in  various  church 
positions  in  New  York  and  Brooklyn,  besides 
teaching  after  1880  in  Rutgers  Institute  and 
Packer  Institute. 

Work,  Henry  Clay  (Middletown,  Conn., 
1832-1884,  Hartford),  a  printer  by  trade  and 
a  self-taught  song-writer,  caught  the  popular 
ear  before  1855,  when  he  moved  to  Chicago. 
He  wrote  many  stirring  war-songs  after  1861 
and  temperance-songs  later. 

*Zerrahn,  Carl  (Mecklenburg,  1826-1909, 
Milton,  Mass.),  came  to  Boston  with  the 
Germania  Orchestra  in  1848,  and  from  1854 
till  1895  was  famous  as  conductor  of  the 
Handel  and  Haydn  Society,  besides  other 
similar  activities.     See  Vol.  v.  595,  and  art. 

*Zundel,  John  (Wiirtemberg,  1815-1882, 
Wiirtemberg),  trained  as  violinist  under  Mo- 
lique  and  as  organist  under  Rinck,  after  being 
organist  at  St.  Petersburg  from  1840,  came  to 
New  York  in  1847  and  for  thirty  years  was  a 
well-known  organist,  in  1850-55,  1858-65  and 
1867-78  at  Plymouth  Church,  Brooklyn.  He 
wrote  instruction-books,  collections  of  volun- 
taries, a  Te  Deum  and  a  Treatise  on  Harmony. 


For  purposes  of  reference,  a  few  notes  may  be 
added  about  the  establishment  of  opera-houses 
in  New  Orleans  and  New  York  before  1860. 

During  the  whole  19th  century  New  Orleans 
maintained  a  fairly  continuous  and  often  bril- 
liant operatic  activity.  The  first  French  troupe 
appeared  there  in  1791.  In  1808  the  Theatre  St. 
Philippe  was  opened  (not  used  for  opera  after 
1820),  in  1813  the  Theatre  d'Orleans  (burnt  in 
1817),  in  1818  the  same  rebuilt  (burnt  again  in 
1866),  and  in  1859  the  New  Orleans  Opera 
House  (burnt  in  1919).  The  works  given  were 
mostly  French,  but  opera  in  English  occurred 


in  1817.  After  the  Civil  War  New  Orleans 
troupes  occasionally  visited  the  North,  going 
especially  to  Cliicago  and  New  York. 

The  first  real  opera-house  in  New  York  was 
opened  in  1833  (after  1835  the  National 
Theater),  Palmo's  Italian  Opera  House  in  1844 
(from  1848  Burton's  Theater),  the  Astor  Place 
Opera  House  in  1847  (given  up  in  1852  and 
later  the  Mercantile  Library) ,  and  the  Academy 
of  Music  in  1854.  From  1849  the  New  York 
operatic  world  was  the  scene  of  managerial 
rivalries  between  Maretzek,  the  Strakosch 
brothers  and  UUmann. 


30  HISTORICAL  INTRODUCTION 


THE   PERIOD    AFTER    THE    CIVIL   WAR 


The  Civil  War  was  a  national  event  of  the  first  magnitude.  While  it  lasted, 
and  for  some  years  afterward,  social  life  was  much  disorganized  and  cultural  pur- 
suits suffered  a  check.  The  struggle  accentuated  the  differences  between  North 
and  South  that  had  been  previously  visible.  It  was  the  North  that  had  ex- 
perienced the  more  vigorous  development  of  physical  resources,  the  principal  in- 
fluence of  copious  immigration,  and,  in  consequence,  the  greater  broadening  of 
social  and  intellectual  interests.  So,  after  the  War,  while  for  a  time  the  South 
was  prostrated,  the  North  was  soon  ready  to  resume  powerful  advance.  By  1890, 
however,  the  South  had  so  far  recovered  that  it  began  to  take  its  due  place  in 
progress. 

During  the  half-century  between  1860  and  1910  the  total  population  grew 
from  about  31,500,000  to  about  92,000,000  —  that  is,  was  practically  tripled. 
Of  the  net  gain,  the  North  as  a  whole  secured  thirty-five  millions,  the  South 
eighteen,  and  the  Far  West  seven  and  a  half.  There  was  a  steady  shift  in  balance 
to  the  west,  so  that  the  percentage  of  population  east  of  the  Mississippi  fell  from 
86  to  70. 

During  the  fifty  years  not  less  than  23,000,000  immigrants  arrived,  the  rate 
rising  after  1905  to  more  than  a  million  per  year.  In  the  opening  decade  of  the 
20th  century  immigration  supplied  more  than  half  of  the  total  increase.  For 
the  fifty  years  it  amounted  to  almost  37  per  cent  of  that  increase.  Such  figures 
are  eloquent  as  to  the  factor  of  transition  and  instability  in  social  conditions 
so  far  as  affected  by  changes  in  population.  The  derivation  of  the  newcomers 
was  no  longer  chiefly  English  or  Teutonic,  but  for  a  time  Scandinavian,  and  then 
Italian,  Hungarian,  and  Slav. 

The  drift  toward  the  city  became  more  pronounced  than  ever.  Whereas 
in  1800  only  one  out  of  twenty-five  was  a  city -dweller,  and  in  1850  only  one  in 
eight,  in  1900  the  ratio  had  become  one  in  three.  This  increased  concentration 
tended  powerfully  to  intensify  the  mental  life  of  the  nation.  In  this  particular 
case  the  city-ward  drift  had  a  peculiar  relation  to  the  total  culture  —  one  but 
slightly  evident  earlier,  and  one  not  easily  matched  elsewhere  in  the  world.  Be- 
cause the  total  area  of  the  country  is  so  great,  the  large  cities  are  generally  far 
apart  and  consequently  tend  to  have  strong  individuality,  as  well  as  decided  in- 
fluence over  the  sections  dependent  on  them.  Nothing  quite  like  this  is  found 
in  any  single  European  country.  And  with  this  dissociation  by  mere  distance 
there  is  a  healthy  rivalry  between  them  and  between  the  several  states  or  sections 
which  they  represent.  Much  of  the  rapidity,  variety,  and  virility  of  the  develop- 
ment in  recent  decades  is  due  to  this  geographic  peculiarity  in  the  American 
situation. 

No  succinct  statement  of  the  immense  economic  activity  of  the  period  is  here 
possible.  Every  phase  of  agriculture,  mining,  manufacture,  and  internal  com- 
merce made  enormous  gains.  As  to  the  general  economic  result  it  is  enough  to 
recall  that  in  1850  the  total  'wealth'  of  the  country  (the  fair  value  of  real  and 


THE  PERIOD  AFTER  THE   CIVIL  WAR  31 

personal  property)  was  estimated  at  somewhat  over  seven  billions,  but  that  in 
1910  this  was  estimated  at  about  one  hundred  and  thirty  billions  —  or  about 
$1400  per  person.  It  was  during  the  latter  part  of  the  19th  century  that  the 
use  of  inventions  like  the  telephone  and  the  electric  railroad  became  so  general 
as  really  to  transform  the  practical  conditions  of  life  and  thought.  All  these 
factors  of  material  progress  —  and  many  more  —  had  direct  bearings  upon  the 
artistic  progress  of  the  period. 

Here  is  the  place  to  remark  that  during  this  period  occurred  the  expansion  of 
the  great  Dominion  of  Canada,  which  was  formed  in  1867  out  of  the  then  existent 
provinces  of  Lower  Canada  or  Quebec  and  Upper  Canada  or  Ontario,  with  New 
Brunswick  and  Nova  Scotia.  In  the  next  fifteen  years  this  area  was  augmented 
by  the  administrative  inclusion  of  the  whole  vast  territory  westward  to  the  Pacific 
and  northward  as  well.  British  Columbia,  on  the  west  coast,  was  admitted  in 
1871,  and  the  great  Northwest  Territories  (Manitoba,  Assiniboia,  Saskatchewan, 
Alberta,  Keewatin,  Athabasca,  Mackenzie  and  Yukon)  were  systematically 
developed  so  that  since  1905  they  have  all  been  counted  as  constituent  provinces. 

The  total  area  of  the  Dominion  is  larger  than  that  of  the  United  States  proper, 
so  that  it  is  much  the  largest  division  of  the  British  Empire.  But,  owing  to  the 
rigorous  climate  in  many  parts  of  it  and  to  the  recency  of  its  decided  advance, 
its  population  is  on  the  whole  small  —  between  eight  and  nine  millions.  On- 
tario, however,  in  the  center,  has  had  a  commercial,  social  and  artistic  unfolding 
similar  to  that  of  the  neighboring  United  States,  though,  as  is  natural,  emphati- 
cally dependent  upon  England.  Since  the  setting  up  of  the  unified  Dominion 
its  cultural  advance  has  been  quite  as  remarkable  as  that  of  the  United  States, 
though  the  bulk  of  it  is  necessarily  less. 

The  population  is  prevailingly  British  in  origin  except  in  the  Province  of 
Quebec  and  eastern  Ontario,  where  the  French  have  always  been  numerous ; 
but  western  Ontario,  Manitoba  and  even  the  provinces  beyond  have  received 
many  of  other  nationalities  by  immigration  from  near-by  portions  of  the  United 
States. 

The  large  cities  are  Montreal,  Toronto,  Winnipeg,  Vancouver,  Ottawa, 
Hamilton  and  Quebec. 

Among  the  forces  that  explain  the  extraordinary  progress  of  music  after  1865 
in  both  the  United  States  and  Canada  a  large  place  must  be  given  to  the  indirect 
influence  of  organized  education.  In  the  United  States  the  educational  purpose 
of  the  colonial  settlers  declared  itself  early  in  the  founding  of  'colleges.'  At 
least  thirty  of  these  which  still  flourish  were  established  before  1800,  representing 
every  State  from  Maine  to  South  Carolina  and  Tennessee  except  one.  The  process 
of  college-founding  went  on  with  growing  momentum  throughout  the  19th  cen- 
tury, spreading  a  network  of  institutions  over  nearly  the  whole  country,  until 
now  they  number  over  600,  of  which  about  140  are  for  men,  110  for  women  and 
the  rest  for  both  sexes.     They  naturally  differ  widely  in  grade  and  scope.     Some 


32  HISTORICAL  INTRODUCTION 

are  really  'academies'  or  detached  'high  schools.'  Others  are  members  of  true 
university  systems.  Most  of  them  represent  types  that  are  more  or  less  peculiar 
to  America. 

A  closely  related  movement  after  1800  was  the  development  of  'public 
schools,'  distributed  according  to  need  and  maintained  by  taxes  laid  upon  the 
communities  served.  The  total  system,  although  analogous  to  that  of  some 
other  countries,  has  always  had  strong  individuality,  especially  in  its  expression 
of  the  spirit  of  democracy.  During  the  19th  century  it  had  a  prodigious  expan- 
sion and  gradually  acquired  somewhat  standardized  methods  of  grading  and  classi- 
fication, with  the  addition  of  the  kindergarten  and  other  primary  forms  at  the 
bottom  and  of  'high  schools'  at  the  top,  besides  many  'normal  schools'  and 
'  teachers'  colleges '  for  the  preparation  of  the  teaching-force.  Most  of  the  '  state 
universities '  belong  technically  to  this  general  class,  being  free  civic  establishments, 
but  some  of  them  originated  as  'colleges.'  They  aim  to  provide  specialized 
opportunities  in  many  distinct  fields  of  knowledge. 

Organized  education  has  also  become  highly  developed  in  many  other  direc- 
tions, especially  in  preparation  for  various  occupations,  like  law,  medicine, 
theology,  engineering,  mining,  agriculture,  etc.  Private  schools  for  the  youth 
of  both  sexes,  too,  have  become  increasingly  common.  Still  other  lines  of  effort 
might  be  specified. 

No  exact  appraisal  is  possible  of  the  reaction  of  this  manifold  activity  upon 
that  form  of  culture  which  demands  artistic  expression.  The  one  normally 
stands  to  the  other  in  some  relation  of  cause  and  effect.  All  '  education '  does 
not  issue  in  artistic  aspiration.  But  such  aspiration  does  not  attain  general 
popular  significance  except  where  there  is  a  wide  educational  basis.  In  both 
the  '  college '  and  the  '  school '  systems  of  America  artistic  topics  were  long 
almost  ignored.  And  yet  every  step  in  the  development  of  these  systems 
helped  to  prepare  the  way  for  the  rational  pursuit  of  artistic  topics.  It  was 
not  until  after  the  Civil  War  that  the  study  and  cultivation  of  music  began 
definitely  to  show  the  results  of  the  previous  activities  in  general  education. 
As  musical  enterprises  took  shape  their  educational  connections  were  evident. 
It  was  in  this  period  that  instructors  and  professors  of  music  began  to  become 
common  in  colleges  and  universities,  that  instruction  in  music  in  public  schools 
began  to  be  widely  and  permanently  adopted,  that  responsible  music-schools 
began  to  be  founded,  that  the  occupation  of  music-teaching  began  to  be 
recognized  as  a  'profession,'  that  regular  concert- and  opera-series  began  to  be 
established,  that  choral  societies  and  orchestras  began  to  be  organized  in  such  a 
way  as  to  continue,  that  influential  musical  periodicals  and  books  began  to  multi- 
ply, and  thus  that  the  whole  social  and  intellectual  status  of  musical  art  began 
to  acquire  general  significance.  With  this  came,  of  course,  a  great  unfolding  of 
artistic  power  in  performance,  composition  and  technical  appreciation.  Cer- 
tainly any  consideration  of  the  sudden  outburst  of  musical  interest  which  is 
implied,  for  instance,  in  the  appended  lists  of  musical  workers  appearing  between 
1860  and  1900  must  take  into  account  its  relation  to  the  preceding  advance  in 


THE  PERIOD  AFTER  THE  CIVIL  WAR  33 

popular  'education,'  even  though  baffled  when  it  attempts  to  describe  the  opera- 
tion of  all  the  factors  with  precision. 

The  important  point  to  be  borne  in  mind  is  that  there  has  always  been  a  pe- 
culiar zeal  in  America  for  the  development  of  education  democratically  —  not 
created  by  the  general  government,  but  locally  or  corporately  sustained,  and  not 
for  any  class,  but  for  the  whole  people.  When  at  length  this  zeal  began  to  take 
hold  of  the  problem  of  musical  education,  it  moved  with  surprising  celerity  and 
enterprise  —  not  always,  perhaps,  with  the  utmost  wisdom  as  neasured  by  the 
thought  of  a  half-century  later,  but  at  least  with  striking  vigor  and  practical 
result. 

In  seeking  to  analyze  the  forces  that  came  into  play  after  the  Civil  War  the 
first  place  belongs  to  the  private  teachers.  At  the  beginning  of  the  period  a 
majority  of  the  best  of  these  were  doubtless  of  foreign  birth.  But  by  1900,  though 
foreigners  were  absolutely  more  numerous,  they  were  relatively  much  less  in 
evidence.  No  statistics  are  available,  but  it  is  clear  that  the  total  number 
of  American  teachers  increased  prodigiously  between  1865  and  1900,  and  their 
geographical  distribution  became  extensive.  It  goes  without  saying,  also,  that 
in  this  period  there  was  great  improvement  in  their  average  equipment  and  ar- 
tistic outlook.  Music-teaching  became,  as  it  had  not  been  earlier,  a  recognized 
educational  occupation,  and  began  to  give  tokens  of  the  ideality  and  aspiration 
that  mark  a  true  'profession.'  One  sign  of  awakening  self-consciousness  was  the 
starting  of  teachers'  associations  (from  about  1875),  both  national  and  local. 
More  and  more  it  was  seen  that  for  good  teaching  good  preparation  is  requisite. 
Every  teacher  who  was  finely  equipped  tended  to  create  a  widening  circle  of 
followers.  Competition  operated  to  stimulate  the  able  and  to  eliminate  the  feeble. 
Whatever  gains  there  were  in  general  pedagogical  practice  gradually  made  their 
way  into  the  field  of  musical  pedagogy  as  a  specialty.  Teaching  music  certainly 
became  steadily  more  systematic  and  rational  rather  than  spasmodic  and  in- 
tuitional. Text-books  and  'methods'  were  published  in  increasing  numbers, 
and  discussion  of  teaching-praxis  grew  animated  and  thoughtful.  Gradually 
about  the  army  of  teachers  grew  up  a  great  clientage  of  pupils,  attracted,  no 
doubt,  by  a  variety  of  considerations,  but  more  and  more  subjected  to  what- 
ever of  information,  sympathy  and  inspiration  there  was  in  the  teaching-body. 
It  is  impossible  to  adduce  exact  evidence  in  detail,  but  no  one  can  compare  the 
musical  situation  in  1865  and  that  in  1900  without  realizing  in  some  degree  that  an 
enormous  pervasive  force  of  personal  influence  had  been  exerted  in  transforming 
the  one  into  the  other. 

One  of  the  chief  means  of  recruiting  the  ranks  of  teachers  are  music-schools. 
At  the  opening  of  this  period  such  schools  were  almost  unknown.  At  its  end 
they  were  scattered  rather  freely  throughout  the  country.  The  most  influential 
pioneers  were  the  Oberlin  Conservatory  and  the  New  England  Conservatory  in 
Boston,  founded  in  1865  and  1867  respectively.  The  former  soon  became  the 
forerunner  of  the  institutional  or  collegiate  type  (though  not  technically  so  at 
first),  as  the  latter  was  of  the  independent  or  detached  type.     The  former  also 


34  HISTORICAL  INTRODUCTION 

represented  the  class  of  those  in  small  towns  where  general  education  is  a  con- 
trolling interest,  while  the  latter  represented  the  class  of  those  in  large  cities, 
where  many  collateral  advantages  are  available.  It  was  the  second  type  that  was 
first  strongly  developed.  As  instances  it  is  enough  to  refer  to  the  Cincinnati 
Conservatory  (1867),  the  Chicago  Musical  College  (1867),  the  Peabody  Conser- 
vatory in  Baltimore  (1868),  the  Philadelphia  Musical  Academy  (1869),  the  Cleve- 
land Conservatory  (1871),  the  Detroit  Conservatory  (1874),  the  College  of  Music 
in  Cincinnati  (1878),  the  New  York  College  of  Music  (1878),  the  Cleveland  School 
of  Music  (1884),  the  National  Conservatory  in  New  York  (1885),  the  Chicago 
Conservatory  (1885),  the  Northwestern  Conservatory  in  Minneapolis  (1885), 
the  American  Conservatory  in  Chicago  (1886)  and  the  Toronto  Conservatory 
(1886).  No  extensive  musical  work  was  common  in  colleges  or  universities  till 
later.  And  yet  it  is  to  be  remembered  that  there  had  been  musical-  instructors 
at  Oberlin  College  since  1838,  at  the  University  of  Toronto  since  1845,  and  at  both 
Yale  College  and  the  University  of  Virginia  since  1849,  and  that  after  1860  such 
significant  appointments  were  made  as  those  of  J.  K.  Paine  at  Harvard  College 
in  1862,  F.  L.  Ritter  at  Vassar  College  in  1867,  J.  C.  Fillmore  at  Ripon  College  in 
1868,  M.  W.  Chase  at  Hillsdale  College  in  1869,  Thomas  a  Becket  at  Girard 
College  in  1870,  Max  Piutti  at  Wells  College  in  1874,  H.  A.  Clarke  at  the  Uni- 
versity of  Pennsylvania,  F.  A.  Parker  at  the  University  of  Wisconsin  and  Willard 
Kimball  at  Grinnell  College  in  1875,  G.  W.  Chadwick  at  Olivet  College  in  1876, 
W.  H.  Schultze  at  Syracuse  University  and  R.  A.  Heritage  at  Valparaiso  Univer- 
sity in  1877,  B.  C.  Blodgett  at  Smith  College  in  1878,  C.  B.  Cady  at  the  Uni- 
versity of  Michigan  and  Louis  Lisser  at  Mills  College  in  1880,  W.  A.  Chalfant  at 
Drury  College  in  1881,  Karl  Merz  at  Wooster  University  in  1882,  J.  W.  Hill  at 
Wellesley  College  and  J.  H.  Howe  at  DePauw  University  in  1884,  W.  F.  Bent- 
ley  at  Knox  College  in  1885  and  C.  H.  Farnsworth  at  the  University  of  Colorado 
in  1888.  In  the  large  majority  of  cases  the  instruction  thus  initiated  led  to  the 
formation  of  strong  and  flourishing  departments  or  schools  of  music.  From  the 
first  the  collegiate  and  the  independent  types  of  institution  have  been  distinct, 
but  each  has  rendered  substantial  service  to  the  total  progress. 

During  this  period  the  attitude  toward  music  in  the  public  schools  changed 
from  comparative  apathy  to  decided  interest  and  even  considerable  sustained 
endeavor.  By  1900  the  children  in  many  places  were  learning  something  of  song 
as  they  did  of  other  subjects,  and  the  function  of  music-supervisor  was  beginning 
to  assume  dignity  in  pedagogical  discussion.  Many  manuals  of  instruction  had 
been  published,  and  there  was  almost  amusing  contention  over  methods. 

These  powerful  influences  were  greatly  stimulated  and  broadened  by  those  of 
another  class,  equally  educational  in  real  value,  but  operating  through  the  ave- 
nue of  public  performance  rather  than  that  of  personal  instruction. 

One  of  these  was  the  steady  formation  of  choral  societies  of  varying  degrees  of 
importance,  working  out  somewhat  freely  into  clubs  for  the  study  of  secular  as 
well  as  sacred  music,  of  glees  and  part-songs  as  well  as  oratorios.  There  is  no 
roster  of  these  associations  available.     Some  lasted  but  a  few  years,  like  many  of 


THE  PERIOD  AFTER  THE  CIVIL  WAR  35 

their  predecessors.  Some  grew  into  established  institutions,  especially  in  the 
large  cities  and  in  connection  with  some  colleges,  exerting  a  cumulative  cultural 
influence  upon  singers  and  communities  —  indirectly,  also,  providing  fields  for 
the  artistic  ability  of  vocal  soloists  and  presently  of  orchestras.  In  the  one  year 
1873  the  Oratorio  Society  in  New  York,  the  Apollo  Club  in  Chicago  and  the 
Cincinnati  Festival  Association  were  founded  —  three  diverse  enterprises,  each 
highly  influential  in  its  way.  A  score  of  other  societies  might  be  named  that 
were  started  before  1890  in  different  places  and  that  have  continued  effective. 

Another  potent  force  was  the  formation  of  orchestras  and  of  ensemble-groups. 
Here  the  virile  ardor  of  Theodore  Thomas  was  a  leading  factor.  In  1864  he  or- 
ganized Symphony  Soirees  in  New  York  and  in  1869  made  his  first  concert-tour 
—  a  practice  continued  till  1878.  As  examples  of  other  significant  efforts  may  be 
named  the  Philharmonic  Society  of  Chicago  (1860-68),  the  orchestra  of  the 
Harvard  Musical  Association  (1865-82),  which  prepared  the  way  for  the  Boston 
Symphony  Orchestra  (1881),  and  the  Symphony  Society  of  New  York  (1878). 
Although  ensemble-groups  kept  springing  up  from  time  to  time,  none  can  be  said 
to  have  exerted  a  truly  national  influence  until  the  formation  in  1886  of  the 
Kneisel  Quartet.  It  is  plain  that  the  stimulus  supplied  by  the  steadily  increas- 
ing number  of  concerts  in  various  places  from  1870  onward  by  bands  of  highly- 
trained  artists  was  of  utmost  importance  in  lifting  the  level  of  knowledge,  appre- 
ciation and  desire  among  a  multitude  of  hearers.  Such  concerts,  with  those  by 
competent  soloists,  whether  resident  or  visiting,  effected  a  vast  amount  of  edu- 
cation by  demonstration. 

The  analogous  influence  of  operatic  performances  is  necessarily  more  fitful 
and  irregular,  except  when  nucleated  by  the  erection  of  permanent  buildings 
intended  for  them.  From  1870  onward,  just  as  at  intervals  for  a  century  before, 
American  audiences  had  varied  chances  to  hear  opera  of  different  kinds  given  by 
visiting  troupes.  But  the  establishment  of  opera  as  a  fixed  element  of  popular 
culture  was  specially  promoted  by  the  existence  of  such  buildings  as  the  Theatre 
d'Or leans  in  New  Orleans  (1813-66)  and  the  Academy  of  Music  in  New  York 
(erected  in  1854  and  used  for  opera  till  1886),  which  prepared  the  way  for  the 
Metropolitan  Opera  House  in  1883,  and  also  by  the  opening  in  Chicago  of  the 
Crosby  Opera  House  in  1865,  which,  though  destroyed  in  the  great  fire  of  1871, 
in  the  same  way  prepared  for  the  Auditorium  in  1889.  Even  where  such  build- 
ings were  not  at  hand  various  opera-companies  appeared  as  visiting  troupes  in 
theaters  with  more  and  more  regularity,  so  that  before  1900  a  long  list  of  works 
had  been  brought  before  an  extensive  clientage  of  hearers. 

The  holding  of  '  festivals '  was  also  a  feature  of  the  period.  To  a  slight  degree 
these  recall  the  '  conventions '  of  an  earlier  time,  but  their  artistic  level  was  much 
higher.  The  so-called  'Peace  Jubilees'  at  Boston  in  1869  and  1872,  organized 
under  Gilmore,  were  monster  affairs,  too  big  to  be  satisfactory,  and  yet  not  with- 
out a  considerable  stimulating  value  upon  popular  interest.  Much  more  im- 
portant were  the  choral  festivals  at  intervals  arranged  by  permanent  organiza- 
tions.    The  first  of  these  was  inaugurated  in  1865  by  the  Handel  and  Haydn 


36  HISTORICAL   INTRODUCTION 

Society  of  Boston  in  celebration  of  its  fiftieth  anniversary  and  continued  triennially 
thereafter.  About  the  same  time  began  the  annual  festivals  at  the  neighbor- 
ing city  of  Worcester.  In  Cincinnati,  growing  out  of  interest  aroused  by  gather- 
ings held  for  many  years  by  German  singing-clubs,  a  festival  was  held  in  1873 
under  Thomas,  followed  by  the  formation  of  a  Festival  Association  to  maintain 
a  biennial  series.  In  1881  Damrosch  organized  a  festival  in  New  York  with  the 
Oratorio  and  Symphony  Societies  as  the  nucleus  of  the  forces.  In  1882  and  1884 
Thomas  held  festivals  in  Chicago.  The  musical  features  of  the  Columbian  Ex- 
position at  Chicago  in  1893,  of  which  Thomas  was  general  director,  amounted 
to  a  prolonged  festival,  lasting  over  three  months.  These  conspicuous  illustra- 
tions of  the  festival  idea  led  to  many  less  ambitious  undertakings,  so  that  by  1900 
clusters  of  choral  and  instrumental  concerts,  usually  held  once  a  year,  had  be- 
come fairly  numerous.  As  a  rule,  all  these  enterprises  have  proved  decidedly 
effective  as  educational  forces,  though  there  is  an  obvious  difficulty  in  holding 
them  to  any  consistent  artistic  policy. 

Among  smaller  factors  in  the  development  after  the  Civil  War  reference  should 
be  made  to  church-music.  This  type  of  musical  effort  has  always  presented  much 
more  variety  in  America  than  in  other  countries,  since  there  is  no  state  church 
and  no  one  communion  holds  the  primacy.  The  differences  between  different 
parts  of  the  country  also  affect  usages,  as  do  those  between  urban  and  rural 
communities.  Yet  the  very  number  of  distinct  'denominations,'  many  of  them 
large  and  finely  organized,  and  even  their  marked  differences  of  liturgical  ten- 
dency, have  on  the  whole  broadened  the  field  of  musical  opportunity.  It  is 
striking  how  many  of  the  musicians  just  after  the  Civil  War  were  organists  or 
church-singers.  In  this  period  in  the  older  parts  of  the  country  the  ideals  of 
sacred  music  underwent  a  marked  change  from  those  of  the  'psalmody'  period. 
Choir-music  was  more  emphasized  than  congregational  singing,  and  organ-play- 
ing for  accompaniment  or  alone  became  more  conspicuous.  Whatever  may  have 
been  the  result  devotionally,  the  practical  effect  on  popular  interest  in  music  was 
useful.     In  studying  the  total  progress  of  the  time  this  factor  cannot  be  ignored. 

Place  must  also  be  made  for  the  rise  of  musical  literature  in  the  hands  of 
critics,  editors  and  authors,  and  of  collections  of  musical  books.  Musical  peri- 
odicals were  by  no  means  new  to  America  in  1865  —  Dwight's  'Journal  of  Music,' 
which  began  in  1852,  went  on  till  1881,  not  to  speak  of  many  less  or  earlier  under- 
takings —  but  they  now  began  to  grow  more  numerous  and  to  exert  more  in- 
fluence. The  daily  newspapers  were  quick  to  magnify  the  criticism  —  or,  better, 
the  reporting  —  of  important  concerts  and  operas,  at  least  in  the  larger  centers. 
It  is  significant  that  Hassard  joined  the  staff  of  the  New  York  'Tribune'  in  1866, 
setting  a  pattern  that  several  others  imitated  or  bettered  soon  afterward.  By 
about  1880  the  issue  of  books  upon  musical  subjects  had  begun  to  make  some 
show  in  the  total  annual  output.  Data  concerning  private  libraries  are  not  ac- 
cessible, but  it  is  worth  noting  that  the  New  York  Public  Library  contains  the 
Drexel  Collection,  presented  in  1888  to  the  Lenox  Library,  but  catalogued  in 
1869-71 ;   that  the  Newberry  Library  in  Chicago  began  systematic  acquisitions 


THE  PERIOD  AFTER  THE  CIVIL  WAR 


37 


in  1888 ;  that  in  1894  the  Boston  Pubhc  Library  received  the  Brown  Collection ; 
and  that  the  Music  Division  of  the  Library  of  Congress  in  Washington  was  deJ5- 
nitely  constituted  in  1897.  In  this  connection,  also,  it  should  be  recalled  that 
the  nucleus  of  the  Brown  Collection  of  Instruments,  now  in  the  Metropolitan 
Museum  of  Art  in  New  York,  was  formed  in  1884-89.  All  these  undertakings 
imply  an  advancement  of  intellectual  interest  in  music  of  which  there  were  only 
rare  and  small  indications  prior  to  the  Civil  War. 

It  is  instructive  to  observe  how  the  decades  after  1860  gradually  bring  into 
view  musicians  of  American  birth  who  presently  gained  real  and  permanent  dis- 
tinction as  either  performers,  composers  or  conductors.  That  these  represent 
on  the  whole  a  much  higher  standard  and  spirit  than  those  of  earlier  periods  is 
obvious.  Most  of  them  secured  extended  discipline  abroad,  usually  in  Germany. 
Their  number,  the  variety  of  their  interests  and  the  scope  of  their  professional 
influence  rapidly  increases,  so  that  even  before  1900  the  phrase  'the  American 
school'  became  perhaps  prematurely  frequent.  Of  those  first  appearing  after 
1860  the  most  conspicuous  were  Buck  and  Paine ;  of  those  after  1870,  Chadwick, 
Foote,  Gilchrist,  and  Gleason ;  of  those  after  1880,  Mrs.  Beach,  Kelley,  MacDowell 
and  Parker;  and  of  those  after  1890,  Converse,  Gilbert,  Hadley  and  Oldberg. 
Six  of  them  have  now  died,  but  none  of  them  before  1900.  Much  of  the  most 
creative  work  of  all  these  dates  from  after  that  time.  It  is  not  therefore  the 
bulk  or  the  absolutely  original  quality  of  American  composition  before  1900 
that  arrests  attention  —  except  the  remarkable  work  of  MacDowell  —  but  the 
fresh,  ambitious,  thoughtful  and  confident  spirit  that  animates  it.  It  all  gives 
token  of  that  striking  animation  and  expansion  in  musical  art  which  is  the 
impressive  characteristic  of  the  period  as  a  whole. 

With  reference  to  this  and  other  features  of  the  time  a  sm'vey  of  the  four 
chronological  groups  of  names  below  is  full  of  suggestion. 

CHRONOLOGICAL  REGISTER 


5.  The  Civil  War  Decade,  1860-1870 

♦Agramonte,  Emilio  (Cuba,  1844-  ?  ), 
trained  in  Spain  (first  as  a  lawyer)  and  France 
(pupil  of  Marmontel),  came  to  New  York 
in  1869,  and  was  a  skillful  choral  conductor 
and  teacher  of  singing.  He  sought  to  extend 
the  range  of  choral  repertoire,  to  promote  in- 
terest in  American  composers,  and  to  advance 
the  giving  of  opera  in  English.  He  composed 
somewhat,  but  without  publishing. 

Albanl  [Marie  Emma  Lajeunesse]  (b.  near 
Montreal,  1852)  began  singing  in  Albany  in 
1864,  studied  in  Paris  and  Milan,  made  her 
debut  in  opera  in  1870,  and  continued  active 
till  1906.     See  Vol.  i.  59,  and  art. 

Allen,  Heman  (St.  Alban's,  Vt.,  1836-  ?  ), 
finely  educated  in  Philadelphia  (from  1845 
his  father  was  professor  in  the  University) 
and  at  Leipzig,  was  from  1862  a  noted  violinist, 
pianist  and  teacher  in  Philadelphia  and  from 


1867  in  Chicago,  where  till  1881  he  was  organist 
at  the  R.  C.  Cathedral.  He  was  specially 
interested  in  Gregorian  music.  See  Mathews, 
Hundred  Years,  pp.  300—2. 

Allen,  William  Francis  (Northboro,  Mass., 
1830-1889),  in  1867-89  professor  of  ancient 
languages  at  the  University  of  Wisconsin,  was 
the  compiler  (with  Charles  P.  Ware  and  Lucy 
McK.  Garrison)  of  the  first  and  largest  book 
upon  Negro  music,  Slave-Songs  of  the  United 
States,   1867. 

*Andres,    Henry    George    (France,    1838- 

?  ),  after  fine  training  at  Paris,  came  to 
Cincinnati  in  1860  and  became  a  leader  in 
developing  musical  taste  by  recitals  and  teach- 
ing. After  about  1880  he  was  head  of  the 
piano-department  at  the  College  of  Music. 

♦Arnold,  Richard  (Prussia,  1845-1918,  New 
York),  lived  in  New  York  as  a  boy,  but 
studied  in  Leipzig,  returning  as  superior 
violinist  in  1867.     See  art. 


38 


CHRONOLOGICAL  REGISTER 


[5:  1860-1870 


Arthur,  Alfred  (Pittsburgh,  1844-1918, 
Lakewood,  O.).  educated  at  Boston,  settled  in 
1871  at  Cleveland  as  teacher,  conductor  and 
founder  in  1885  of  the  Cleveland  School  of 
Music.     See  art. 

Auerbach,  Nannette,  n6e  Falk,  a  superior 
German  pianist,  in  1868-81  was  teacher  and 
concert-player  in  Baltimore,  from  1871  at  the 
Peabody  Conservatory.     See  art. 

Baker,  Theodore  (b.  New  York,  1851), 
about  1865  was  organist  at  Concord,  Mass., 
lived  in  Germany  in  1874-90,  and  has  since 
worked  in  New  York  as  editor,  translator  and 
author.     See  art. 

Bartlett.  Homer  Newton  (b.  Olive,  N.  Y., 
1846-1920,  Hoboken,  N.  J.),  from  about  1860 
an  important  organist  and  composer  in  New 
York.     See  art. 

Bartlett,  Maro  Loomis  (b.  Brownhelm,  O., 
1847),  trained  at  Oberlin,  conducted  choral 
societies  at  Mcadville,  Pa.,  and  Newark,  N.  J., 
engaged  in  public-school  work  in  Newark  and 
New  York,  with  some  concert-singing,  and  in 
1880  moved  to  Chicago  and  thence  to  Des 
Moines,  becoming  head  of  the  Musical  College. 
Mus.D.  of  Drake  University  in  1889. 

*Baur,  Clara  (Wiirtemberg,  ?  -1912,  Cincin- 
nati), founded  the  Cincinnati  Conservatory 
in  1867. 

Biddle,  Horace  Peters  (Logan,  O.,  1811- 
1900),  by  profession  a  lawyer  (finally  in  the 
Supreme  Court  of  Indiana),  published  a  book 
on  The  Musical  Scale,  Cincinnati,  1860,  be- 
sides other  essays  on  musical  topics. 

Bliss,  Philip  Paul  (Clearfield  Co.,  Pa., 
1838-1876,  Ashtabula,  O.,  killed  in  accident), 
early  a  '  singing-school  '  teacher,  from  about 
1864  was  employed  by  Root  in  Chicago  and 
before  1870  became  an  evangelistic  singer,  in 
1874  joining  Maj.  D.  W.  Whittle  and  travel- 
ing widely  in  the  Central  States.  He  was  a 
pioneer  in  the  '  Gospel  hymn '  movement, 
a  fertile  composer  of  both  hymns  and  tunes, 
and  (with  Sankey)  edited  Nos.  1-2  of  the 
Gospel  Hymn  series,  1875-6.  He  had  a  re- 
markable voice  and  great  magnetism,  and 
hearing  him  led  Moody  to  use  solo-singing  in 
his  meetings. 

*Boekelman,  Bernardus  (b.  Holland,  1838), 
since  1866  has  been  prominent  in  New  York 
as  pianist,  teacher  and  editor.     See  art. 

Boise,  OtisBardwell  (Oberlin,  O.,  1844-1912, 
Baltimore),  after  study  at  Leipzig  and  Berlin, 
from  1865  taught  in  Cleveland,  from  1878  in 
New  York,  from  1888  in  Berlin  and  from  1901 
at  the  Peabody  Conservatory,  Baltimore.  See 
art. 

*Bonawitz,  Johann  Heinrich  (Rhine  Prov., 
1839-1917,  England),  studied  at  Li^ge  and 
New  York  (1852-61),  toured  as  pianist  and 
taught  at  Wiesbaden,  Paris  and  London,  in 
1872-76  gave  concerts  and  operas  in  New 
York  and  Philadelphia,  then  going  to  London. 
See  art. 

Bowman,  Edward  Morris  (Barnard,  Vt., 
1848-1913,  Brooklyn),  from  1867  organist  at 


St.  Louis,  with  intervals  abroad,  from  1887 
in  Newark,  from  1891  at  Vassar  College, 
and  from  1895  in  Brooklyn  and  New  York. 
See  art. 

Buck,  Dudley  (Hartford,  Conn.,  1839-1909, 
Orange,  N.  J.),  after  study  in  Germany  and 
France,  was  from  1862  organist  at  Hartford, 
from  1867  in  Chicago,  from  1872  in  Boston, 
and  from  1875  in  Brooklyn.  See  Vol.  i. 
413-4,   and  art. 

Candidus,  WUliam  (Philadelphia,  1845  -  ?  ), 
originally  a  piano-maker  with  the  Steinways, 
became  an  opera-tenor  in  New  York,  went 
abroad  for  study  and  became  well  known  in 
Germany  and  England,  after  1880  making 
several  visits  to  America  to  sing  at  festivals. 

*Carreno,  Maria  Teresa  (Venezuela,  1853- 
1917,  New  York),  began  as  a  child-pianist  in 
New  York  in  1862,  was  mostly  abroad  until 
1875,  and  was  then  identified  with  New  York. 
See  Vol.  i.  474,  and  art. 

Gary,  Annie  Louise  (b.  Wayne,  Me.,  1842), 
a  church-singer  in  Boston  from  about  1860, 
spent  several  years  in  Europe,  where  she 
appeared  in  opera  from  1867,  came  to  New 
York  in  1870  and  for  about  fifteen  years  was 
a  favorite  alto,  there  and  abroad,  especially 
in  concert.  La  1882  she  married  Charles 
C.  M.  Raymond,  a  New  York  banker,  and 
lives  at  Norwalk,  Conn.     See  Vol.  i.  476. 

Chase,  Melville  Warren  (b.  Minot,  Me., 
1842),  graduated  from  Bates  College  and 
trained  in  Boston,  since  1869  has  been  professor 
in  Hillsdale  College,  Mich. 

*Christiani,  Adolf  Friedrich  (Hesse,  1836- 
1885,  Elizabeth,  N.  J.),  after  a  few  years  in 
London,  came  to  America  in  the  Civil  War 
period  and  taught  in  Poughkeepsie,  Pittsburgh, 
Cincinnati,  New  York  and  (from  1880) 
Elizabeth,  where  he  conducted  a  school.  He 
is  known  by  his  Principles  of  Expression  in 
Pianoforte- Playing,  1886  (also  in  German). 

Clarke,  Hugh  Archibald  (b.  near  Toronto, 
1839),  pupil  of  his  father,  James  P.  Clarke 
(see  sec.  4),  came  to  Philadelphia  about  1860, 
became  an  honored  organist  and  conductor, 
and  since  1875  has  been  professor  in  the 
University  of  Pennsylvania.     See  art. 

Cole,  Belle  (Chautauqua,  N.  Y.,  1845-1905, 
England),  from  about  1865  active  as  concert- 
contralto,  living  from  1888  in  England,  but 
making  extensive  tours  throughout  the  world. 

Colson,  William  Brewster  (b.  Rochester, 
1846),  has  been  organist  and  teacher  for  more 
than  fifty  years,  since  1878  in  Cleveland,  giving 
many  recitals  there  and  elsewhere. 

Converse,  Charles  Crozat  (Warren,  Mass., 
1832-1918,  Highwood,  N.  J.),  after  study  at 
Leipzig  and  also  preparing  for  the  legal  pro- 
fession, practiced  law  in  Erie,  Pa.,  for  some 
years,  but  engaged  more  and  more  in  musical 
work.     See  art. 

*Dolge,  Alfred  (b.  Saxony,  1848),  came  to 
New  York  in  1866,  worked  in  a  piano-factory, 
in  1871  started  a  hammer-felting  shop  in 
Brooklyn,    in    1874    removed    to    Dolgeville, 


5:  1860-1870] 


CHRONOLOGICAL  REGISTER 


39 


N.  Y.,  adding  the  making  of  soundboards, 
inventing  many  new  processes  and  machines 
and  winning  international  recognition,  and 
since  1903  has  been  located  at  Covina,  Cal. 
(near  Los  Angeles).  He  has  published  Piatios 
and  their  Makers,  2  vols.,  1911-13,  giving 
invaluable  data  about  American  piano-making. 

Emery,  Stephen  Albert  (Paris,  Me.,  1841- 
1891,  Boston),  after  study  in  Leipzig  and 
Dresden,  from  1864  taught  in  Portland  and 
from  1867  in  Boston.     See  art. 

♦Errani,  Achille  (Italy,  1823-1897,  New 
York),  pupil  of  Vaccai  and  for  fifteen  years 
a  noted  operatic  tenor  in  Europe,  came  to 
America  in  1860,  sang  in  the  United  States, 
Cuba  and  Mexico,  and  settled  in  1864  in  New 
York  as  a  leading  teacher  of  singing. 

Estey,  Jacob  (Hinsdale,  N.  H.,  1814-1890, 
Brattleboro,  Vt.),  by  trade  a  plumber,  from 
1850  invested  his  savings  in  a  melodeon- 
making  shop  at  Brattleboro,  losing  all  by 
fire  in  1857.  In  1858  he  took  up  the  business 
himself,  in  1860  secured  Levi  K.  Fuller  (1841- 
1896)  as  helper,  and,  with  him  and  his  own 
son  Julius  Estey  (1845-1902),  formed  the 
Estey  Organ  Company,  which  had  remarkable 
success,  becoming  the  parent  of  many  later  con- 
cerns. In  1885  the  Company  added  piano- 
making  and  in  1901  the  making  of  pipe-organs. 
See  Dolge,  Pianos  and  their  Makers,  pp.  364-6. 

*Falk,  Louis  (b.  Germany,  1848),  brought  up 
in  Pittsburgh  and  Rochester,  where  he  was 
already  organist  in  1859,  went  to  Chicago  in 
1861  as  organist.  In  1865-69  he  studied  at 
Homburg  and  Leipzig,  returning  to  be  a  noted 
church-  and  concert-player  and  chief  organ- 
teacher  in  the  Chicago  Musical  College. 

Fillmore,  John  Comfort  (Franklin,  Conn., 
1843-1898,  Franklin),  graduated  from  Oberlin 
College,  studied  at  Leipzig,  in  1867-68  was 
head  of  the  Oberlin  Conservatory,  in  1868-78 
at  Ripon  College,  from  1878  at  Milwaukee,  and 
from  1895  at  Pomona  College,  becoming  sig- 
nificant as  theorist  from  1883.     See  art. 

*Florio,  Caryl  [William  James  Robjohn]  (b. 
England,  1843),  came  to  New  York  in  youth, 
from  before  1865  became  known  as  singer  and 
organist,  and  later  as  conductor,  composer 
and  critic  at  many  different  places.     See  art. 

Franko,  Sam  (b.  New  Orleans,  1857),  a 
precocious  violinist,  studying  at  Breslau  and 
Berlin,  and  appearing  there  in  1SG7  and  in 
New  York  in  1869.  Since  then,  except  for 
sojourns  abroad,  he  has  been  active  in  concerts 
and  teaching,  mainly  in  New  York.     See  art. 

*Gilbert,  Walter  Bond  (England,  1829-1910, 
England),  after  extensive  and  distinguished 
service  in  England  as  organist  and  composer, 
in  1869-99  was  organist  of  Trinity  Chapel, 
New  York.     See  art. 

*Glover,  William  Henry  (England,  1819- 
1875,  New  York),  long  known  in  England  as 
violinist,  singer  and  composer  of  operas, 
orchestral  and  piano-pieces,  songs,  etc.,  and 
also  as  critic,  lived  from  1863  in  New  York. 
See  Vol.  i.  183. 


*Gomes,  Antonio  Carlos  (Brazil,  1839-1806, 
Brazil),  after  study  in  Milan,  from  1861  be- 
came increasingly  famous  as  an  opera-writer, 
producing  ten  or  more  works  in  Italy  and 
Brazil.  In  1876  he  contributed  a  hymn,  '  II 
Saluto  del  Brasile,'  for  the  Centennial  Expo- 
sition, and  in  1892  a  cantata,  '  Colombo,'  for 
the  Columbus  Festival.     See  Vol.  ii.  200. 

Gottschalk,  L.  Gaston  (New  Orleans,  1847- 

?  ),  brother  of  the  noted  pianist  (see  sec.  4), 
after  study  at  Paris,  was  concert-singer  through- 
out the  United  States,  studied  further  in  Italy, 
and  for  many  years  was  active  in  opera  in 
many  European  capitals,  visiting  America 
occasionally.  From  1886  for  a  few  years  he 
taught  in  the  Chicago  Musical  College. 

Hahn,  Jacob  H.  (Philadelphia,  1847-1902, 
Detroit),  was  early  trained  in  Chicago,  where 
he  became  organist,  teacher  and  concert- 
manager  from  before  1865.  After  study  at 
Leipzig,  from  1872  he  taught  in  Detroit, 
founding  the  Detroit  Conservatory  in  1874 
and  soon  bringing  it  to  striking  success. 

Hassard,  John  Rose  Green  (New  York,  1836- 
1888,  New  York),  graduated  from  St.  John's 
College,  Fordham,  developed  into  an  expert 
journalist  in  New  York,  and  from  1866  was  on 
the  staff  of  the  '  Tribune,'  serving  as  its  chief 
musical  critic  and  evincing  ability  and  force 
as  a  writer,  especially  in  advocacy  of  Wagner. 
He  was  Krehbiel's  predecessor. 

Hauk,  Minnie  (b.  New  York,  1852),  pupil  of 
Errani,  began  her  career  as  operatic  soprano 
in  1866  in  Brooklyn,  appearing  often  in  America 
for  thirty  years.     See  Vol.  ii.  341-2,  and  art. 

*Hess,  Willy  (b.  Baden,  1859),  the  dis- 
tinguished violinist,  now  remembered  as 
concertmaster  of  the  Boston  Symphony  Or- 
chestra in  1904-10,  lived  in  America  as  a  boy, 
appearing  with  the  Thomas  Orchestra  in 
1868-72.     See  Vol.  ii.   390,   and  art. 

Hill,  Junius  Welch  (b.  Hingham,  Mass., 
1840),  after  studying  at  Leipzig,  from  1863 
was  organist  in  Boston,  in  1884-97  at  Wellesley 
College,  then  taught  in  Boston,  and  has  lived 
lately  in  Los  Angeles.     See  art. 

*Hodges,  Faustina  Hasse  (d.  1896,  New 
York),  and  Hodges,  John  Sebastian  Bach 
(England,  1830-1915,  Baltimore),  children  of 
Edward  Hodges  (see  sec.  3),  both  became 
active  as  organists  and  composers  in  the  Civil 
War  period.     See  Vol.  ii.  414,  and  art. 

Howard,  George  Henry  (Norton,  Mass., 
1843-1917,  Boston),  .studied  in  Boston  and 
began  teaching  there  in  1864,  in  1869-70 
studied  in  Leipzig  and  Berlin,  and  then  taught 
again  in  Boston,  London,  Olivet,  Mich.,  and 
from  1882  Boston  again,  where  in  1891  he 
started   a  school   for  teachers. 

Howe,  Elias  (Framingham,  Mass..  1820- 
1895,  Boston),  was  founder  in  1865  of 'a  well- 
known  firm  in  Boston  dealing  in  fine  violins, 
etc.  He  was  one  of  the  earliest  (from  1871) 
to  make  collections  of  rare  instruments. 

Hutchings,  George  S.  (Salem,  Mass.,  1835- 
1913,  Boston),  trained  in  Boston  as  an  organ- 


40 


CHRONOLOGICAL  REGISTER 


[5:  1860-1870 


maker  in  the  Hooks'  factory,  in  1869  started 
a  separate  business  with  Willcox  and  others 
(becoming  sole  owner  in  1884)  and  was  in 
partnership  with  Votey  in  1901-08.  He  was 
the  inventor  or  first  successful  user  of  many 
mechanical  features,  such  as  improved  electric 
action,  movable  console,  etc. 

*Inten,  Ferdinand  von  (Saxony,  1848-1918, 
New  York),  after  study  at  Leipzig,  came  to 
New  York  in  1868  as  concert-pianist  and 
ensemble-player.  In  chamber-concerts  he  was 
associated  with  Thomas  and  Damrosch, 
exerting  a  significant  influence.  He  was  also 
a  fine  teacher. 

*Jehin-Prume,  Franfois  (Belgium,  1839- 
1899,  Montreal),  highly  trained  as  a  violinist 
at  Li6ge  and  Brussels,  began  European  tours 
in  1855  and  from  1803  appeared  frequently  not 
only  in  the  United  States  and  Canada,  but  in 
Cuba  and  Mexico.  In  1887-96  he  was  teacher 
and  organizer  of  chamber-music  in  Montreal. 
He  wrote  two  violin-concertos,  violin-pieces  and 
songs.     Ysaye  was  at  one  time  his  pupil. 

Kellogg,  Clara  Louise  (Sumterville,  S.  C, 
1842-1916,  New  Hartford,  Conn.),  the  brilliant 
operatic  and  concert-soprano,  was*  educated 
in  New  York,  made  her  debut  there  in  1861 
and  in  London  in  1867,  continuing  active  in 
England  and  America  for  about  twenty-five 
years.     See  Vol.  ii.  563,  and  art. 

*Kunkel,  Charles  (Palatinate,  1840-  ?  ), 
and^Kunkel,  Jacob  (1846-1882,  St.  Louis), 
were  brought  to  America  in  1848,  studied  with 
their  father,  Thalberg  and  Gottschalk,  and 
excelled  in  duet-playing.  From  1868  they 
were  publishers  and  dealers  in  St.  Louis. 

Lavallee,  Calixa  (Verchferes,  Que.,  1842-1891, 
Boston),  a  precocious  pianist  and  composer, 
was  educated  in  Paris,  where  he  remained 
many  years,  started  a  conservatory  in  Quebec, 
and  about  1880  removed  to  Boston.     See  art. 

Leavitt,  W.  J.  D.  (Boston,  1841-  ?  )  after 
European  study,  from  1865  taught  at  Oneida, 
N.  Y. ,  and  from  1870  taught  in  Boston,  becoming 
organist  at  the  Music  Hall  in  1875  and  giving 
many  recitals.  He  wrote  the  opera  '  Mer- 
cedes,' several  operettas,  an  organ-sonata  and 
organ-pieces,  etc. 

*Leckner,  Max  (b.  Prussia,  1842),  well 
trained  as  a  musician,  came  to  America  in 
1860  and  finally  settled  in  Indianapolis,  where 
for  more  than  a  half-century  he  has  been  a 
notable  artistic  force. 

*Levy,  Jules  (b.  1840),  appeared  in  England 
in  1860  as  solo  cornettist,  came  to  New  York 
in  1864,  1868  and  1875,  joining  Gilmore. 

*Liebling,  Emil  (Silesia,  1851-1914,  Chicago), 
educated  at  Berlin,  came  to  America  in  1867, 
teaching  first  in  Kentucky,  but,  after  study 
abroad  in  1871-72,  at  Chicago,  where  he  was 
honored  as  pianist,  composer,  and  writer. 
See  art.  His  brother  Max  Liebling  (b.  Silesia, 
1845),  also  a  noted  concert-pianist,  settled  in 
New  York. 

*Listemann,  Bernhard  (Thuringia,  1841- 
1917,    Chicago),    having    won    distinction    as 


violinist  in  Germany,  came  to  America  in  1867 
as  a  superior  teacher,  virtuoso  and  conductor 
at  Boston,  New  York  and  Chicago.  See  art. 
His  brother  Fritz  Listemann  (Thuringia, 
1839-1909,  Boston),  came  with  him  and  was 
almost  equally  prominent. 

Main,  Hubert  Piatt  (b.  Ridgefield,  Conn., 
1839),  early  interested  in  church-music  and 
a  tune-writer  from  1855,  after  some  years  of 
clerical  and  editorial  work  in  New  York,  in 
1867  entered  the  employ  of  Bradbury,  con- 
tinued with  his  successors,  Biglow  &  Main 
(his  father,  Sylvester  Main,  being  the  junior 
partner),  and  has  since  been  identified  with 
that  firm.  He  has  written  much  vocal  music, 
secular  and  sacred,  has  edited  many  hymn- 
books,  and  is  an  expert  on  hymnody.  See  Hall, 
Gospel  Song  and   Hy?nn  Writers,  pp.  140-6. 

Marston,  George  W.  (Sandwich,  Mass., 
1840-1901,  Sandwich),  pupil  of  Tufts,  with 
some  foreign  study,  was  from  1860  organist 
in  Portland,  Me.,  becoming  noted  for  his 
choir  and  as  composer  of  sacred  music,  includ- 
ing the  cantata  '  David,'  songs  and  part-songs. 

*Marzo,  Eduardo  (b.  Italy,  1852),  came  to 
New  York  as  accompanist  for  various  artists 
in  1867,  was  pianist  in  concert-companies, 
organist  and  fertile  composer  of  church-music, 
songs,  part-songs,  operettas,  etc.,  and  editor 
of  many  works.     See  art. 

Mathews,  William  Smith  Babcock  (New 
London,  N.  H.,  1837-1912,  Denver),  began 
teaching  in  1860  in  the  South,  but  in  1867  re- 
moved to  Chicago,  where  he  was  active  as 
teacher,  editor  and  author.     See  art. 

*Maylath,  Heinrich  (Austria,  1827-1883, 
New  York),  concert-pianist,  came  to  New  York 
in  1867  and  made  a  fine  reputation  as  player, 
teacher  and  composer  for  the  piano. 

*Messiter,  Arthur  Henry  (England,  1834- 
1916,  New  York),  in  1866-97  was  organist  of 
Trinity  Church,  New  York,  and  historian  in 
1907  of  its  music. 

*Mischka,  Joseph  (b.  Bohemia,  1846), 
brought  up  in  Buffalo,  has  long  been  active 
there  as  organist  and  choral  conductor. 

MoUenhauer,  Emil  (b.  Brooklyn,  1855), 
now  the  honored  conductor  of  the  Handel  and 
Haydn  Society  of  Boston,  appeared  as  a  boy- 
violinist  in  1864  and  played  with  Thomas  and 
Damrosch  from  1872.     See  art. 

Morgan,  John  Paul  (Oberlin.  O.,  1841-1879, 
Oakland,  Cal.),  an  organist  before  1860  in 
Mt.  Vernon,  O.,  studied  in  New  York  and  at 
Leipzig,  in  1865  established  the  Oberlin 
Conservatory,  in  1866-73  was  organist  and 
choral  conductor  in  New  York,  but  was  forced 
to  give  up  activity  by  ill-health,  which,  how- 
ever, did  not  prevent  further  work  in  Oakland 
and  San  Francisco.  Besides  being  a  fine  player 
he  composed  with  ability. 

*Napoleao,  Arthur  (b.  Portugal,  1843),  a 
precocious  pianist  from  1849,  appearing  at 
Lisbon,  London,  Berlin  and  Paris,  in  1857-61 
visited  South  America,  the  West  Indies  and 
the  'United    States,    and,    after   further   con- 


5:  1860-1870] 


CHRONOLOGICAL  REGISTER 


41 


certizing  in  Europe,  became  in  1868  a  music- 
dealer  in  Rio  de  Janeiro,  publishing  some  piano- 
pieces  and  occasionally  serving  as  conductor. 

*Orth,  John  (b.  Bavaria,  1850),  brought  as 
a  child  to  America,  was  organist  in  early 
youth,  studied  in  Boston  and  abroad,  resumed 
teaching  in  Boston  in  1875,  becoming  known  as 
pianist,  lecturer,  composer  and  author.   See  art. 

Paine,  John  Knowles  (Portland,  Me.,  1839- 
1906,  Cambridge,  Mass.),  having  studied  with 
Kotzschmar  and  at  Berlin,  from  1862  was 
instructor  and  from  1875  professor  at  Harvard 
and  eminent  as  organist  and  versatile  composer. 
See  Vol.  iii.  596-7,  and  art. 

Parker,  Fletcher  Andrew  (b.  Lodi,  O.,  1842), 
trained  at  Boston  and  later  at  Stuttgart,  in 
1868-73  taught  in  Bloomington,  111.,  in  1874 
in  London,  and  since  1875  has  been  identified 
with  the  University  of  Wisconsin  as  instructor 
and  professor  (emeritus  since  1907),  besides 
conducting  the  Madison  Choral  Union  in 
1890-1905.  He  has  exercised  a  wide  and 
fruitful  influence  throughout  Wisconsin. 
k  Pattison,  John  Nelson  (Niagara  Falls,  N.  Y., 
1845-1905,  New  York),  having  studied  at 
Berlin  in  1859-61  and  with  Henselt  in  1862, 
became  favorably  known  as  a  pianist  in  Berlin, 
Paris,  etc.,  and  toured  with  Thalberg  in  Italy, 
from  about  1870  traveled  extensively  in 
America  with  various  artists,  gave  a  striking 
series  of  recitals  at  the  Centennial  Exposition 
in  1876,  and  made  his  home  in  New  York. 
He  wrote  a  symphony,  '  Niagara',  for  orchestra 
and  band,  a  concert-overture,  a  piano-concerto 
or  fantasia,   and  many  piano-pieces. 

*Pearce,  Stephen  Austen  (England,  1836- 
1900,  Jersey  City),  visited  America  in  1864 
and  from  1872  was  teacher,  organist  and  critic 
in  New  York.     See  art. 

Pease,  Alfred  Humphries  (Cleveland,  1838- 
1882,  St.  Louis),  though  without  musical 
opportunities  in  youth,  after  six  years'  study 
in  Germany  from  about  1865  was  active 
throughout  the  United  States  as  a  popular 
pianist.  He  wrote  a  piano-concerto  (1875) 
and  some  other  works  for  orchestra,  many 
transcriptions  for  four  hands,  and  many  songs. 

Penfield,  Smith  Newell  (Oberlin,  O.,  1837- 
1920,  New  York),  after  study  at  New  York, 
Leipzig  and  Paris,  from  about  1869  taught 
in  Rochester,  then  in  Savannah,  and  from  1882 
in  New  York.     See  art. 

*Perabo,  Johann  Ernst  (b.  Hesse,  1845), 
brought  to  America  in  childhood,  taught  by 
his  father  and  at  Leipzig  later,  from  1865, 
after  a  year  of  concertizing,  settled  as  concert- 
pianist  and  teacher  in  Boston.     See  art. 

Perkins,  Henry  Southwick  (Stockbridge, 
Vt.,  1833-1914,  Chicago),  son  of  Orson  Perkins 
(see  sec.  3),  trained  in  Boston,  from  1861 
taught  in  Chicago,  often  conducting  '  con- 
ventions '  in  various  places,  from  1867  was  in 
Iowa  City,  in  the  State  University  two  years, 
and  director  of  the  Academy  of  Music  five 
years,  from  1870  at  Leavenworth,  Kan.,  for 
five  years  conducting   a   summer-school,  and 


after  1872  made  his  home  in  Chicago,  where  in 
1891  he  established  the  National  College  of 
Music,  continuing  at  its  head  till  his  death. 
He  was  one  of  the  organizers  of  the  Music 
Teachers'  National  Association  in  1876,  and 
energetically  active  in  its  affairs.  He  com- 
piled about  thirty  song-books. 

Perkins,  Julius  Edson  (Stockbridge,  Vt., 
1845-1875,  England),  brother  of  the  above, 
studied  in  Boston,  Paris  and  Italy,  appeared 
as  operatic  bass  in  1868  in  Italy  and  in  1874 
in  England,  and  in  that  year,  with  his  wife, 
nee  Marie  Roze,  made  a  visit  to  America. 
Though  but  thirty  at  death,  he  had  already 
gained  high  repute  in  opera  and  oratorio. 

Perkins,  William  Oscar  (Stockbridge,  Vt., 
1831-1902,  Boston),  elder  brother  of  the  two 
preceding,  after  study  in  London  and  Milan, 
settled  in  Boston  as  teacher  and  leader  of 
'  conventions.'  He  was  editor  of  some  forty 
song-books,   sacred   and  secular. 

Petersilea,  Carlyle  (Boston,  1844-1903,  near 
Los  Angeles),  was  carefully  instructed  by  his 
father  and  at  Leipzig.  After  touring  in 
Germany  as  pianist,  from  1866  he  taught  in 
Boston,  establishing  in  1871  his  own  Academy, 
joined  the  New  England  Conservatory  in  1886 
and  removed  to  California  in  1892.  He  was 
gifted  as  performer  and  teacher. 

Presser,  Theodore  (b.  Pittsburgh,  1848), 
began  teaching  in  Ohio  in  1869,  later  spending 
two  years  in  foreign  study.  In  1883  he 
started  publishing  '  The  Etude '  at  Lynch- 
burg, Va.,  which  he  transferred  in  1884  to 
Philadelphia,  rapidly  building  up  there  an 
extensive  publishing  business.     See  art. 

*Remmertz,  Franz  (Rhine  Prov.,  1845  -  ?  ) 
came  to  New  York  in  1869  and  for  many  years 
was  much  in  request  as  a  concert-bass  of  the 
'  robust  '  order. 

Rice,  Fenelon  B.  (Greensburg,  O.,  1841- 
1901,  Oberlin),  studied  in  Boston  and  Leipzig, 
in  1863-67  was  music-director  at  Hillsdale 
College  in  Michigan,  and  from  1871  was  head 
of  the  Oberlin  Conservatory.     See  art. 

*Ronconi,  Giorgio  (Italy,  1810-1890,  Spain), 
son  of  Domenico  Ronconi  of  Milan  and  Munich, 
came  to  New  York  in  1867  and  for  several 
years  was  a  respected  singing-teacher. 

Root,  Frederick  Woodman  (Boston,  1846- 
1916,  Chicago),  was  organist  in  Chicago  from 
1863,  and,  after  foreign  study  in  1869-70, 
became  a  leading  teacher  of  singing  there. 
See  Vol.  iv.  139,  and  art. 

*Rosewald,  Julie,  nee  Eichberg  (b.  Hesse, 
1850),  came  to  America  in  1866,  married  I.  H. 
Rosewald,  a  violinist  and  conductor,  and  ap- 
peared successfully  in  concert,  then  studied  at 
Frankfort,  returning  to  America  with  Abt. 
In  1875-84  she  sang  in  opera  both  here  and 
abroad,  and  then  removed  to  San  Francisco. 

*Schmidt,  Arthur  P.  (b.  Schleswig,  1846), 
came  to  Boston  in  1866  as  clerk  for  Russell  & 
Co.,  and  since  1876  has  been  a  prominent 
music-publisher,  issuing  a  large  number  of 
works  by  American  composers. 


42 


CHRONOLOGICAL  REGISTER 


[5:  1860-1870 


*Seiler,  Emma  (Bavaria,  1821-  ?  )  pupil 
of  Wieck  and  Helmholtz  and  an  experienced 
investigator  of  the  voice,  came  to  Philadelphia 
in  1866  as  vocal  teacher.  She  published  Altes 
und  Neues  iiher  die  Ausbildung  des  Gesangorgans, 
1861,  The  Voice  in  Singing,  1869,  and  The 
Voice  in  Speaking,  1875.  Her  observations 
gave  her  wide  reputation  among  scientists. 

Seward,  Theodore  Frelinghuysen  (Florida, 
N.  Y.,  1835-1902,  Orange,  N.  J.),  self-educated 
except  for  courses  in  the  Mason-Root  Normal 
Institute,  was  an  organist  and  teacher  in  New 
London,  Conn.,  and  in  Rochester  before  1860, 
went  to  New  York  in  1862,  which  remained 
his  headquarters  for  editorial  and  literary 
work,  though  from  about  1870  he  was  music- 
supervisor  at  Orange,  N.  J.,  and  also  director 
for  the  '  Jubilee  Singers  '  of  Fisk  University 
in  tours  at  home  and  abroad.  While  visiting 
England  in  1869  he  was  impressed  with  the 
Tonic  Sol-Fa  system  of  teaching  and  became 
its  advocate  and  representative  in  America. 
He  published  many  song-books  for  schools 
and  from  1864  edited  '  The  Musical  Pioneer  ', 
from  1867  '  The  Musical  Gazette,'  from  1881 
*  The  Tonic  Sol-Fa  Advocate,'  and  from  1886 
'  Musical  Reform.' 

Shepard,  Thomas  Griffin  (Madison,  Conn., 
1848-1905,  Brooklyn),  pupil  of  G.  W.  and 
J.  P.  Morgan,  was  organist  in  New  Haven 
from  1865  and  for  different  periods  conductor 
of  choral  societies,  besides  critical  writing.  He 
published  the  comic  opera  '  Pennikeese,'  a 
Christmas  cantata,  and  much  choir-music. 

*Singer,  Otto  (Saxony,  18.33-1894,  New 
York),  after  teaching  in  Leipzig  and  Dresden, 
from  1867  was  pianist  and  teacher  in  New 
York,  removing  in  1873  to  Cincinnati.    See  art. 

Smith,  Dexter  (Peabody,  Mass.,  1839-1909, 
Boston) ,  from  1865  was  editor  in  Boston  of  sev- 
eral musical  periodicals,  chief  of  which  was 
Ditson's  '  Monthly  Musical  Record,'  started  in 
1878.     He  was  also  a  facile  writer  of  verse. 

Squier,  J.  B.  (Ohio,  1838-1912,  Boston), 
after  the  Civil  War  noted  as  one  of  the  best 
American  violin-makers,  with  headquarters 
at  Boston.     See  Violinist's  Guide  (1916),  p.  39- 

Stanley,  Albert  Augustus  (b.  Manville, 
R.  I.,  1851),  studied  at  Providence  and  Leipzig, 
from  1876  was  organist  at  Providence,  and  since 
1888  has  been  professor  and  conductor  at  the 
University  of  Michigan.     See  art. 

Sterling,  Antoinette  (Sterlingville,  N.  Y.J 
1850-1904,  England),  appeared  in  concert  in 
1868,  studied  in  Germany  and  England,  be- 
coming an  eminent  contralto.  She  lived 
mainly  in  England.     See  Vol.  iv.  693-4. 

Thayer,  Whitney  Eugene  (Mendon,  Mass., 
1838-1889,  Burlington,  Vt.),  from  1862  was 
organist  in  Boston,  studied  in  Germany  in 
1865-6,  and  was  then  engaged  in  touring, 
conducting  and  editing.  From  1881  he  was 
organist  in  New  York.     See  art. 

Thoms,  William  M.  (New  York,  1852-1913, 
New  York),  was  connected  with  Watson's 
'  American  Art  Journal '  from  1867,  becoming 


editor  in  1875.  In  1870-71  he  edited  a 
musical  daily,  '  The  Journal  of  the  Day,'  and 
in  1873-74  '  The  Musical  Monthly,'  and  pub- 
lished an  extensive  work.  The  World  of  Art, 
1877-78,  largely  concerned  with  musicians. 
He  was  constantly  active  as  musical  critic. 

Tracy,  James  Madison  (b.  Bath,  N.  H., 
1839),  after  study  at  Leipzig  and  Weimar, 
from  1861  taught  in  Rochester,  from  1866  in 
Boston,  for  many  years  in  the  New  England 
Conservatory,  then  at  Des  Moines,  and  is  now 
at  Denver,  where  he  founded  the  Liszt  School 
of  Music.  He  has  published  a  book  on  Har- 
mony, Three  Years  of  Student-Life  in  Germany, 
and  two  musical  novels. 

Tremaine,  William  B.  (1868-1907,  New 
York),  took  up  piano-making  in  1868,  became 
from  1878  one  of  the  leading  promoters  of  auto- 
matic organs  and  pianos,  forming  companies 
that  led  to  the  present  jEolian  Company,  of 
which  H.  B.  Tremaine  (b.  Brooklyn,  1866), 
is  president.     See  Dolge,  pp.  327-33. 

Upton,  George  Putnam  (Roxbury,  Mass., 
1835-1919,  Chicago),  graduated  from  Brown 
University  in  1854,  entered  editorial  work  in 
1855,  and  from  1861  was  in  Chicago,  becoming 
a  conspicuous  critic  and  author.     See  art. 

Veazie,  George  Augustus  (Boston,  1835- 
1915,  Chelsea,  Mass.),  in  1869-1903  was  music- 
supervisor  in  the  Chelsea  schools,  promoting 
improved  methods,  besides  in  1888-1902 
teaching  in  the  New  England  Conservatory. 

Walter,  George  WUliam  (New  York,  1851- 
1911,  Washington),  a  precocious  organist, 
studied  with  Paine  and  S.  P.  Warren,  and 
moved  from  New  York  to  Washington  in 
1869,  where  he  established  a  reputation  for 
unusual  skill  in  improvisation,  registration, 
etc.,  besides  gathering  an  exceptional  library. 
Mus.D.  of  Columbian  University  in  1892. 

Warren,  Samuel  Prowse  (Montreal,  1841- 
1915,  New  York),  son  of  S.  R.  Warren  (see 
sec.  3),  after  study  in  Germany,  was  from 
1866  a  distinguished  organist  in  New  York, 
in  1868-94  at  Grace  Church,  and  from  1895 
at  East  Orange,  N.  J.     See  art. 

Weil,  Oscar  (b.  Columbia  Co.,  N.  Y.,  1840), 
after  study  at  Leipzig  and  Paris,  served  gal- 
lantly in  the  Civil  War,  removed  to  San  Fran- 
cisco in  1868  and  has  been  largely  occupied 
with  composition  and  criticism.  Besides  piano- 
pieces  and  songs,  he  wrote  the  operas  '  Suzette ' 
and  '  The  War-Time  Wedding  '  and  three 
operettas. 

*Welte,  Emil  (b.  Baden,  1841),  son  of 
Michael  Welte,  maker  of  automatic  organs 
at  Voehrenbach,  came  to  New  York  in  1865 
to  set  up  a  branch  of  the  business.  He  in- 
vented improvements  in  the  use  of  paper-rolls. 

Wheeler,  Lyman  Warren  (Swampscott, 
Mass.,  1837-1900,  Columbus) ,  after  experience 
as  leader  of  '  conventions,'  studied  extensively 
in  England  and  Italy,  appearing  as  concert 
and  operatic  tenor,  and  from  1863  was  in 
Boston  as  soloist  and  teacher,  from  1870  in 
the  New  England  Conservatory. 


6:  1870-1880] 


CHRONOLOGICAL  REGISTER 


43 


Whitney,  Samuel  Brenton  (Woodstock,  Vt., 
1842-1914,  Brattleboro,  Vt.),  began  organ- 
playing  in  1855,  studied  with  Paine,  after  short 
engagements  elsewhere,  was  from  1871  at  the 
Church  of  the  Advent,  Boston,  celebrated  as 
player  and  choir-trainer.     See  art. 

WUkins,  Herve  D.  (Italy,  N.  Y.,  1848-1913, 
Rochester),  organist  at  Auburn,  N.  Y.,  from 
1866,  graduated  at  the  University  of  Rochester, 
studied  in  Berlin,  and  was  then  well  known  in 
Rochester  as  church-  and  concert-organist. 

*Woolf,  Benjamin  Edward  (England,  1836- 
1901,  Boston),  brought  to  America  as  a  child, 
studied  in  New  York,  served  as  theater- 
conductor  in  Boston,  Philadelphia  and  New 
Orleans,  and  from  1870  was  musical  critic  for 
various  Boston  papers.  He  wrote  several 
comic  operas,  such  as  '  Westward,  Ho ! '  (1894), 
an  overture  to  '  A  Comedy  of  Errors,'  and 
considerable  orchestral  and  chamber-music. 

*Zeckwer,  Richard  (b.  Prussia,  1850), 
trained  as  pianist  at  Leipzig,  came  to  Philadel- 
phia in  1869  as  organist  and  teacher  in  the 
Musical  Academy,  becoming  head  of  the  latter 
in  1876.     See  art. 

*Ziegfeld,  Florenz  (b.  Oldenburg,  1841), 
came  first  to  New  York  in  1856,  moving  in 
1863  to  Chicago,  where  in  1867  he  opened  the 
first  of  the  series  of  schools  of  which  the 
present  Musical  College  is  the  successor. 
Of  this  he  is  now  president-emeritus. 

*Ziehn,  Bernhard  (Thuringia,  1845-1912, 
Chicago),  came  to  Chicago  in  1868  as  teacher 
in  the  Lutheran  Seminary,  and  after  1871 
turned  to  general  instruction,  becoming  emi- 
nent as  a  theorist.     See  art. 

*Zielinski,  Jaroslaw  de  (b.  Galicia,  1847), 
came  to  America  in  1864,  served  in  the  Civil 
War,  from  1805  was  concert-pianist  and 
teacher  in  New  York,  later  in  Grand  Rapids, 
Mich.,  and  Detroit,  from  1888  in  Buffalo,  and 
since  1910  in  Los  Angeles,  where  he  founded 
a  Trio  Club  and  is  head  of  a  music-school. 
Besides  being  an  accomplished  player,  he  has 
composed  effectively  for  the  piano  and  written 
articles  on  Russian  and  Polish  music. 

6.   The  Decade  after  the  Civil  War  — 
1870-1880 

Abbott,  Emma  (Chicago,  1850-1891,  Salt 
Lake  City),  at  first  self-trained,  but  from  1870 
studying  in  New  York,  Milan  and  Paris, 
became  known  as  an  effective  soprano  in  con- 
cert and  opera.     See  art. 

*Adamowski,  Timothee  (b.  Poland,  1858), 
came  to  America  in  1879,  at  first  as  traveling 
violinist,  but  from  1884  located  at  Boston. 
See  art. 

Aiken,  Walter  H.  (b.  Cincinnati,  18.56),  son 
of  Charles  Aiken  (see  sec.  4),  followed  his  father 
in  1879  in  the  Cincinnati  schools,  becoming 
superintendent  in  1900. 

Alden,  John  Carver  (b.  Boston,  1852), 
studied  in  Boston  and  Leipzig,  and  has  taught 
in  the  New  England  Conservatory,  in  South 
Carolina  and  lately  near  Boston.     See  art. 


*Allen,  Charles  N.  (England,  1837-1903, 
Boston),  in  1871  came  to  Boston  as  violinist 
in  ensemble-groups  and  teacher.     See  art. 

Allen,  Nathan  Hale  (b.  Marion,  Mass., 
1848),  after  study  at  Berlin,  from  1870  organist 
at  Hartford,  Conn.,  and  in  1906-11  at  Wor- 
cester, is  now  teaching  in  Hartford.     See  art. 

Andrews,  George  Whitfield  (b.  Wayne,  O., 
1861),  trained  at  Oberlin,  Leipzig,  Munich 
and  Paris,  began  as  organist  in  1877  and  since 
1882  has  been  identified  with  Oberlin  as  emi- 
nent player,  conductor  and  teacher.     See  art. 

Andrews,  J.  Warren  (b.  Lynn,  Mass.,  1860), 
an  organist  since  1872,  located  from  1879  at 
Newport,  then  at  Cambridge  and  Minne- 
apolis, and  since  1898  in  New  York.     See  art. 

Apthorp,  William  Foster  (Boston,  1848- 
1913,  Switzerland),  graduated  from  Harvard 
in  1869,  taught  for  years  in  Boston,  but  was 
best  known  as  critic  and  author.     See  art. 

Aronson,  Rudolph  (New  York,  1856-1919, 
New  York),  studied  in  Berlin  and  Paris,  re- 
turning to  New  York  as  promoter  of  popular 
concerts  after  the  model  of  Johann  Strauss. 
He  projected  the  Metropolitan  Concert  Hall 
and  the  Casino,  and  composed  considerable 
orchestral  music.  He  published  Theatrical  and 
Musical  Memoirs,  1913.  I 

Baldwin,  Samuel  Atkinson  (b.  Lake  City, 
Minn.,  1862),  organist  from  1877,  studied 
extensively  abroad,  was  in  Chicago  from  1885, 
in  St.  Paul  and  Minneapolis  from  1889,  and 
has  been  an  eminent  recitalist  in  New  York 
since  1895.     See  art. 

Bartlett,  James  Carroll  (b.  Harmony,  Me., 
1850),  trained  as  tenor  in  Boston  and  London, 
in  1875-76  toured  with  Camilla  Urso,  later 
with  the  actors  Booth  and  Barrett,  and  has 
been  organist,  teacher  and  song-composer  in 
Boston  and  Worcester. 

Batchelder,  John  C.  (b.  Topsham,  Vt., 
1852),  after  four  years'  study  at  Berlin,  has 
been  an  able  organist  in  Detroit,  teacher  in  the 
Detroit  Conservatory  and  recitalist  elsewhere. 

Beel,  Sigmund  (b.  California,  1863),  a  boy- 
violinist  at  Oakland  in  1872,  studied  in  Berlin 
and  Brussels,  toured  extensively  in  England 
and  on  the  Continent,  and  recently  has  been 
concertrnaster  of  the  Los  Angeles  Orchestra, 
but  lives  now  in  San  Francisco. 

Benbow,  William  (b.  Columbus,  O.,  1865), 
graduated  from  Ohio  State  University,  after 
study  in  Philadelphia  and  England,  has  served 
as  organist  at  various  places,  chiefly  Colum- 
bus,  Reading,   Pa.,   and   (since  1913)   Buffalo. 

*Benson,  Harry  (b.  England,  1848),  came  to 
America  in  youth  and  was  partly  trained  in 
Boston,  where  he  has  taught  in  the  New  Eng- 
land Conservatory  and  since  1891  in  the  Train- 
ing School  for  Music.  He  has  also  been  or- 
ganist, choral  conductor  and  a  Tonic  Sol-Fa 
advocate. 

*Bidez,  L.  Aloys  (b.  Belgium,  1847),  taught 
in  America  from  1876  till  1904,  when  he  re- 
turned to  Belgium.  He  has  composed  an 
operetta,     a     piano-concerto,     an     orchestral 


44 


CHRONOLOGICAL  REGISTER 


[6:  1870-1880 


monody,  etc.,  and  is  the  author  of  The  Art  of 
Fingering  (1877). 

Biedermann,  Edward  Julius  (b.  Milwaukee, 
1849),  son  of  A.  J.  Biedermann  (see  sec.  4), 
after  study  in  Germany,  since  1864  has  been 
organist  in  New  York,  chiefly  at  St.  Mary's. 
He  has  composed  masses  and  other  vocal  music. 
Mus.D.  of  Beaver  College  in  1906. 

Bird,  Arthur  (b.  Cambridge,  Mass.,  1856), 
studied  in  Berlin,  from  1877  was  organist  and 
teacher  in  Nova  Scotia  and  since  1881  has 
lived  in  Berlin  as  composer.  See  Vol.  i.  328-9, 
and  art. 

Bischoff,  John  W.  (Chicago,  1850-1909, 
Washington),  trained  at  the  Wisconsin  Insti- 
tute for  the  Blind  and  in  London,  from  1875 
was  organist,  singing-teacher  and  song-writer 
at  Washington. 

*Blumenschein,  William  Leonard  (Germany, 
1849-1916,  Dayton,  O.),  brought  to  Pitts- 
burgh in  childhood,  studied  at  Leipzig,  from 
1876  was  choral  conductor  in  Portsmouth,  O., 
from  1881  of  the  Dayton  Philharmonic  Society 
and  organist,  and  in  1891-96  chorus-master 
of  the  Cincinnati  Festivals.  He  published 
over  100  effective  works  for  piano  and  voice. 
Boott,  Francis  (Boston,  1813-1904,  Boston), 
graduated  from  Harvard  in  1831,  lived  in 
Italy  until  about  1875,  then  returning  to  Cam- 
bridge. Though  nominally  an  amateur,  he 
composed  a  Grand  Mass,  a  Te  Deum,  a 
Miserere  a  cappella,  a  cantata,  '  The  Song  of 
Zechariah,'  anthems,  sacred  and  secular  songs, 
and  several  string-quartets.  He  left  $10,000 
to  establish  a  prize  at  Harvard  for  the  best 
4-part  vocal  work  written  by  a  Harvard  man. 
*Brandt,  Hermann  (Hamburg,  1842-  ?  ), 
a  pupil  of  David  and  from  1868  concert- 
master  in  Prague,  came  to  New  York  in  1873 
as  concertmaster  in  the  Thomas  Orchestra 
and  later  in  the  Philharmonic  Society. 

*Bretherick,  Henry  (b.  England,  1849), 
came  to  America  in  youth,  receiving  part  of 
his  training  here,  and  has  been  organist  from 
1872  in  Jacksonville,  111.,  from  1885  in  Quincy, 
111.,  and  since  1895  in  San  Francisco. 

Brewer,  John  Hyatt  (b.  Brooklyn,  1856), 
since  1871  has  been  active  and  successful  in 
Brooklyn  as  organist  and  conductor.  See  art. 
Cady,  Calvin  Brainerd  (b.  Barry,  111.,  1851), 
educated  at  Oberlin  and  Leipzig,  from  1874 
taught  at  Oberlin,  from  1880  at  the  University 
of  Michigan,  moving  thence  to  Chicago,  Boston, 
New  York  and  Portland,  Ore.     See  art. 

*Campanini,  Italo  (Italy,  1846-1896,  Italy), 
operatic  tenor,  came  to  America  first  in  1873 
and  from  about  1880  lived  in  New  York,  with 
frequent  sojourns  elsewhere.  For  a  time  his 
popularity  was  supreme.  See  Vol.  i.  450,  and 
Krehbiel,   Chapters  of  Opera,  pp.  81-2,  etc. 

*Capoul,  Joseph  Amedee  Victor  (b.  France, 
1839),  already  an  established  opera-tenor, 
made  the  first  of  several  visits  to  America  in 
1873.  In  1892-97  he  taught  at  the  National 
Conservatory  in  New  York.  See  Vol.  i.  460-1, 
and  art. 


Chadwick,  George  Whitefield  (b.  Lowell, 
Mass.,  1854),  studied  at  Boston,  Leipzig  and 
Munich,  in  1876-77  taught  at  Olivet  College 
and  since  1880  has  been  identified  with  Boston 
as  organist,  teacher  and  from  1897  director 
of  the  New  England  Conservatory,  and  eminent 
composer.     See  Vol.  i.  494-5,  and  art. 

Chaffin,  Lucien  Gates  (b.  Worcester,  1846), 
graduated  from  Brown  University  in  1867,  for 
a  time  gave  himself  to  educational  work  in 
Southboro,  Mass.,  Buffalo  and  Hobart  College, 
but  also  qualified  as  a  concert-organist  and 
critic.  Since  1884  he  has  been  in  New  York, 
furthering  the  Manuscript  Society,  the  People's 
Symphony  Concerts,  etc.  His  compositions 
include  Psalm  23,  a  cantata,  '  Holy  Night,' 
anthems,    many    organ-pieces,    songs,  etc. 

Chapman,  William  Rogers  (b.  Hanover, 
Mass.,  1855),  has  been  choral  conductor  since 
1876,  founding  the  Apollo  and  Rubinstein 
Clubs  in  New  York  and  since  1903  having 
charge  of  the  annual  Maine  Festivals  at  Port- 
land and  Bangor. 

Chittenden,  Kate  Sara  (b.  Hamilton,  Ont., 
1856),  began  teaching  before  1880  at  HelK 
muth  College,  London,  Ont.,  coming  thence 
to  New  York  to  be  organist  and  director  of 
large  music-schools.     See  art. 

Clark,  Melville  (b.  Oneida  Co.,  N.  Y.,  ?  ), 
began  as  an  organ-maker  at  Oakland,  Cal.,  in 
1875,  removing  in  1880  to  Chicago,  where 
from  1894  he  turned  to  making  pianos.  He 
was  one  of  the  first  (1901)  to  develop  the 
player-piano,  the  extended  paper-roll  and  de- 
vices for  recording  actual  performance,  holding 
numerous  important  patents. 

Cogswell,  Hamlin  Elisha  (b.  Silverlake,  Pa., 
1852),  began  as  band-leader  and  choirmaster 
at  Scranton  in  1876  and  later  at  Elmira. 
Since  1890  he  has  been  prominent  in  public- 
school  music,  especially  in  Pennsylvania  State 
Normal  Schools  and  since  1915  at  Washington. 
Cole,  Samuel  Winkley  (b.  Meriden,  N.  H., 
1848),  began  teaching  at  Portsmouth,  N.  H., 
in  1877,  since  1882  has  been  influential  in 
public-school  music  in  Boston,  teaching  in  the 
New  England  Conservatory,  conducting  the 
People's  Choral  Union,  and  publishing  several 
text-books  on  sight-singing. 

*Conried,  Heinrich  (Austria,  1855-1909, 
Austria),  in  1877-1908  director  or  manager  of 
operatic  and  theatrical  enterprises,  mostly  in 
New  York,  the  last  five  years  at  the  Metro- 
politan Opera  House.     See  art. 

Corey,  Newton  John  (b.  Hillsdale,  Mich., 
1861),  began  organ-playing  before  1880, 
studied  at  Boston,  and  since  1891  has  been 
organist  at  Detroit,  with  much  lecturing  upon 
music  with  varied  illustration  and  writing  for 
musical  papers.  He  has  been  manager  of  the 
Detroit  Orchestral  Association.  Mus.D.  of 
Hillsdale  College  in  1910. 

Crane,  Julia  Ettie  (b.  Potsdam,  N.  Y.,  1855), 
since  1877  prominent  in  public-school  music, 
first  at  Shippensburg,  Pa.,  and  since  1884  at 
Potsdam,  N.  Y.,  where  her  Normal  Institute 


6:  1870-1880] 


CHRONOLOGICAL   REGISTER 


45 


has  become  notable  for  training  teachers  and 
supervisors.  She  is  the  author  of  a  Manual 
for  Teachers  of  School  Music. 

*Damrosch,  Leopold  (Prussian  Poland, 
1832-1885,  New  York),  the  distinguished 
violinist,  conductor  and  composer,  came  to 
New  York  in  1871  as  leader  of  the  Arion 
Society,  later  of  the  Oratorio  and  Symphony 
Societies,  and  finally  of  German  opera.  See 
Vol.  i.  656,  and  art. 

Dana,  William  Henry  (Warren,  O.,  1846- 
1916,  Warren),  after  study  at  Berlin,  estab- 
lished a  Musical  Institute  at  Warren,  O., 
which  has  remained  successful  ever  since.  He 
was  the  author  of  text-books  on  Harmony 
(1873,  '84),  Orchestration  and  Band-Instru- 
mentation (1875,  '76). 

Dannreuther,  Gustav  (1).  Cincinnati,  1853), 
was  trained  in  Berlin  and  worked  first  at 
London,  returned  to  America  in  1877  and  has 
been  prominent  at  Boston,  Buffalo  and  New 
York  as  violinist  and  teacher.  He  is  the 
brother  of  Edward  George  Dannreuther  (1844— 
1905),  for  whom  see  Vol.  i.  661-2.     See  art. 

Davis,  Jessie,  nee  Bartlett  (b.  Morris,  111., 
1860-1905,  Crown  Point,  Ind.),  after  study  in 
Chicago  and  New  York,  from  1879  was  con- 
tralto in  light  opera  and  from  18S8  with  the 
Bostonians. 

Dickinson,  Edward  (b.  West  Springfield, 
Mass.,  1853),  graduated  from  Amherst  College 
in  1876,  studied  at  Boston  and  Berlin,  from 
1872  was  organist  at  Springfield,  Mass.,  from 
1879  at  Elmira,  N.  Y.,  and  since  1893  has 
been  professor  at  the  Oberlin  Conservatory 
and  distinguished  as  an  author.     See  art. 

*Doenho£f,  Helena  von,  nee  Spuller  (b. 
Hungary,  1861),  came  to  America  in  1874  and 
developed  into  a  favorite  operatic  contralto, 
associated  with  many  strong  companies  and 
in  1893  organizing  her  own.  Recently  she 
has  taught  in  New  York. 

Doerner,  Armin  W.  (b.  Marietta,  O.,  1851), 
after  study  at  Berlin,  Stuttgart  and  Paris, 
appeared  as  pianist  at  Cincinnati  in  1877,  in 
1878-97  was  teacher  in  the  College  of  Music 
there  and  later  head  of  his  own  school,  and  in 
1905  established  a  school  at  Denver. 

Dressier,  Louis  Raphael  (b.  New  York, 
1861),  has  been  an  organist  in  New  York 
since  1877,  for  many  years  at  All  Souls',  be- 
sides being  choral  conductor,  accompanist  and 
on  the  editorial  staff  of  C.  H.  Ditson  &  Co. 

*Dulcken,  Ferdinand  Quentin  (England, 
1837-1902,  New  York),  son  of  Luise  Dulcken 
(see  Vol.  i.  740),  was  developed  as  a  pianist  at 
Leipzig,  then  professor  at  the  Warsaw  Con- 
servatory and  for  a  time  at  Paris,  besides  tour- 
ing widely.  In  1876  he  came  to  America, 
touring  with  eminent  artists,  and  settled  in 
New  York,  where  he  taught  in  the  National 
Conservatory.  His  works  included  the  opera 
'  Wieslav,'  a  mass,  cantatas,  piano-pieces,  etc. 

Dunham,  Henry  Morton  (b.  Brockton, 
Mass.,  1853),  trained  in  Boston,  has  been 
organist  since  1873,  first  at  Brockton  and  from 


1883  in  Boston,  besides  since  1878  teaching 

in  the  New  England  Conservatory.     See  art. 

Eddy,  Hiram  Clarence  (b.  Greenfield,  Mass., 

1851),  after  study  at  home  and  in  Berlin,  from 

1874  was  church-  and  concert-organist  in 
Chicago,  with  extensive  tours  in  America  and 
abroad.     See    Vol.    i.    768,    and    art. 

Eddy,  Sara,  nee  Hershey  (b.  Lancaster 
Co.,  Pa.,  1852),  after  study  at  Berlin,  Milan 
and  London,  was  singer  and  teacher  in  New 
York  from  1871,  then  in  Pittsburgh  and  from 

1875  in  Chicago,  where,  with  Mathews,  she 
established  a  strong  school,  a  leading  teacher  be- 
ing Clarence  Eddy,  whom  she  married  in  1879. 

Elson,  Louis  Charles  (Boston,  1848-1920, 
Boston),  trained  in  Boston  and  Leipzig,  was 
prominent  in  Boston  from  1876  as  critic, 
editor,  lecturer  and  author,  besides  teaching 
from  1881  in  the  New  England  Conservatory. 
See  art. 

■"Ende,  Amelia  von,  nee  Kremper  (b.  Po- 
land, 1856),  came  in  youth  to  America,  studied 
in  Milwaukee,  Chicago  and  also  Warsaw,  has 
been  a  pianist  and  teacher  since  1874,  first  at 
Milwaukee,  from  1879  in  Chicago,  and  from 
1897  in  New  York.  She  has  been  correspond- 
ent of  musical  papers  in  America  and  Europe, 
has  written  a  monograph  on  New  York  (Berlin, 
1909),  and  has  composed  songs  and  piano- 
pieces.    In  1876  she  married  Heinrich  von  Ende. 

*Fanciulli,  Francesco  (Italy,  1853-1915, 
New  York),  trained  at  Florence  and  opera- 
conductor  there,  came  to  New  York  as  organist 
and  teacher  in  1876,  in  1893  followed  Sousa 
as  leader  of  the  Marine  Band  in  Washington, 
and  from  1898  was  leader  of  bands  in  New 
York.  He  wrote  the  operas  '  Gabriele  de 
Montgomery,'  '  Priscilla  '  and  '  Melinche,' 
and  two  comic  operettas. 

Farnsworth,  Charles  Hubert  (b.  Turkey, 
1859,  of  American  parents),  studied  mostly 
at  Worcester,  from  1876  was  organist  and 
teacher  there,  from  1888  professor  in  the 
University  of  Colorado,  and  since  1901  at 
Teachers  College  in  New  York.     See  art. 

Fay,  Amy  (b.  Bayou  Goula,  Miss.,  1844), 
after  extended  study  in  Berlin  and  Weimar, 
appeared  as  concert-pianist  in  1876  in  New 
York  and  toured  widely  for  a  time,  and  settled 
in  New  York  as  lecturer  and  recitalist,  specializ- 
ing as  teacher  of  the  Deppe  method  of  instruc- 
tion. She  is  best  known  as  the  author  of 
Music-Study  in  Germany,  1881  (20th  ed.,  1912, 
and  also  in  French  and  German). 

Fisher,  Edward  (Jamaica,  Vt.,  1848-1913, 
Toronto),  trained  in  Boston,  from  1875  taught 
in  Ottawa  and  from  1879  in  Toronto,  where  in 
1886  he  established  the  Toronto  Conservatory, 
which  he  developed  as  director  with  remark- 
able success.     See  art. 

Flagler,  Isaac  Van  Vleck  (Albany,  1848- 
1909,  Auburn,  N.  Y.),  trained  as  organist  at 
Albany  and  Paris,  after  brief  service  at  Pough- 
keepsie  and  Albany,  was  eight  years  in  Chicago, 
removing  before  1880  to  Auburn.  In  1879-84 
he    was    instructor    at    Syracuse    University, 


46 


CHRONOLOGICAL  REGISTER 


[6:  1870-1880 


later  at  Cornell  University  and  at  the  Utica 
Conservatory.  For  twenty  years  he  gave 
recitals  and  lectures  at  Chautauqua.  He 
edited  collections  of  organ-music,  choir-music 
and  hymns,  and  wrote  some  organ-pieces. 

*Floersheim,  Otto  (Rhine  Prov.,  1853-1917, 
Switzerland) ,  came  to  New  York  in  1875  and 
in  1880-94  was  editor  of  '  The  Musical  Courier,' 
returning  then  to  Berlin. 

Foerster,  Adolph  Martin  (b.  Pittsburgh, 
1854),  after  training  at  Leipzig,  since  1876  has 
been  a  teacher  of  singing  and  piano  at  Pitts- 
burgh and  a  fertile  composer.     See  art. 

Foote,  Arthur  William  (b.  Salem,  Mass., 
1853),  graduated  from  Harvard  in  1874,  was 
trained  in  Boston,  and  has  been  an  eminent 
piano-teacher  there  since  1876,  organist  of  the 
First  Unitarian  Church  in  1878-1910,  and  a 
noted  pianist  and  composer.  See  Vol.  ii.  71, 
and  art. 

Franko,  Nahan  (b.  New  Orleans,  1861), 
educated  in  Berlin,  as  boy-violinist  toured 
with  Patti  in  1869,  came  to  New  York  about 
1875  to  play  in  the  Metropolitan  Orchestra, 
becoming  concertmaster  in  1883  and  con- 
ductor in  1905-07,  and  then  organized  his  own 
orchestra  for  private  occasions. 

*Franosch,  Adolph  (Rhine  Prov.,  1830- 
1880,  New  York),  an  opera-bass  of  experience, 
came  to  New  York  in  1870  and  sang  there  and 
on  tour  for  ten  years. 

Furlong,  Atherton  Bernard  (b.  Greenwood, 
Me.,  1849),  after  study  in  Boston  and  abroad, 
from  1870  was  concert-tenor  in  Boston,  from 
1872  in  Brooklyn,  from  1880  in  England, 
France  and  Germany  with  oratorio  societies, 
and  since  1888  has  been  head  of  the  College  of 
Vocal  Art,  Toronto.  He  has  composed  songs, 
published  a  novel  and  poems,  and  exhibited 
animal  and  landscape  paintings. 

*Fursch-Madi,  Emmy  (France,  1847-1894, 
Warrenville,  N.  J.),  well  known  in  Europe  as 
a  notable  operatic  soprano,  first  came  to  New 
York  in  1874  and  for  twenty  years  was  fre- 
quently heard  there  as  well  as  abroad.  She 
was  a  broad  and  conscientious  artist,  exerting 
a  strong  and  inspiring  influence. 

*Gantvoort,  Arnold  Johann  (b.  Holland, 
1857),  came  to  America  in  1876,  taught  in 
various  colleges  in  Kentucky  and  Ohio,  and 
from  1894  was  head  of  public-school  work  in  the 
Cincinnati  College  of  Music,  becoming  its 
manager  in  190 1-19.  He  has  published  Familiar 
Talks  on  the  History  of  Music,  1913,  and  a  series 
of  readers  for  public-school  use. 

Gilchrist,  William  Wallace  (Jersey  City, 
1846-1916,  Easton,  Pa.),  after  a  year  at  Cincin- 
nati, was  from  1873  identified  with  Philadelphia 
as  organist,  conductor  and  gifted  composer. 
See  art. 

Gleason,  Frederick  Grant  (Middletown, 
Conn.,  1848-1903,  Chicago),  trained  chiefly 
at  Leipzig,  Berlin  and  London,  was  organist 
from  1875  at  Hartford,  Conn.,  removing  in 
1877  to  Chicago  and  becoming  prominent  as 
teacher,  composer  and  critic.     See  Vol.  ii.  177, 


and  art.  His  wife,  Grace  Gleason,  n6e  Hiltz 
(b.  1854?  ),  was  a  superior  soprano. 

*Goepfart,  Christian  Heinrich  (Saxony, 
1835-1890,  Baltimore),  previously  organist 
at  Weimar,  was  from  1873  active  in  Baltimore 
as  organist  and  conductor  of  choral  societies. 

Goetschius,  Percy  (b.  Paterson,  N.  J.,  1853), 
was  trained  at  Stuttgart,  where  from  1876  he 
was  teacher  and  critic,  from  1890  was  pro- 
fessor at  Syracuse  University,  from  1892 
organist  and  teacher  in  Boston,  and  since 
1905  has  taught  at  the  Institute  of  Musical 
Art,  New  York.     See  art. 

Goodrich,  Alfred  John  (Chilo,  O.,  1847- 
1920,  France),  began  teaching  harmony  about 
1870  in  New  York,  from  1876  at  Fort  Wayne, 
Ind.,  Chicago,  Abingdon,  Va.,  and  St.  Louis, 
besides  living  in  1909-15  in  Paris.     See  art. 

*Grau,  Maurice  (Moravia,  1849-1907, 
France),  brought  up  as  a  child  in  New  York, 
in  1872-1903  was  a  foremost  manager  of  con- 
certs and  opera.     See  art. 

Grout,  Charles  Henry  (b.  Worcester,  1854), 
trained  in  Boston  and  Berlin,  has  been  or- 
ganist in  Worcester  since  1873,  both  in  Cen- 
tral Church  and  for  the  annual  Festivals. 

Hale,  Philip  (b.  Norwich,  Vt.,  1854), 
graduated  from  Yale  in  1876  (also  qualified  as 
lawyer),  was  from  1879  organist  in  Albany, 
Troy  and  Roxbury,  Mass.,  with  study  at  Ber- 
lin, Munich  and  Paris,  and  since  1889  has  been 
a  distinguished  critic  in  Boston.     See  art. 

*Hamerik,  Asger  (b.  Denmark,  1843),  a 
gifted  composer,  was  in  1871-1898  director  of 
the  Peabody  Conservatory  in  Baltimore  and 
conductor  of  the  Peabody  Orchestra,  returning 
then  to  Copenhagen.    See  Vol.  ii.  277-8,  and  art. 

Hanchett,  Henry  Granger  (Syracuse,  1853- 
1918,  Siasconset,  Mass.),  trained  as  both 
pianist  and  physician,  made  his  d6but  in  con- 
cert in  1879  in  New  York,  where  he  was  long 
active  as  teacher  and  lecturer,  from  1907  in 
Washington  and  from  1913  at  Brenau  College 
in  Georgia.     See  art. 

Hastreiter,  Helene  (b.  Louisville,  1858), 
began  as  choir-singer  in  1870  at  Chicago,  and 
after  careful  study  developed  into  a  competent 
operatic  contralto,  reappearing  in  Chicago  in 
1883.  She  was  then  prominent  in  Italy  and  at 
Paris.     See  Vol.  ii.   341,  and  art. 

Hattstaedt,  John  James  (b.  Monroe,  Mich., 
1851),  after  study  in  Boston  and  in  Germany, 
began  teaching  in  1872  at  Detroit  and  St. 
Louis,  was  from  1875  in  the  Chicago  Musical 
College,  and  in  1886  founded  the  American 
Conservatory. 

Hawley,  Charles  Beach  (Brookfield,  Mass., 
1858-1915,  Redbank,  N.  J.),  was  trained  in 
New  York,  where  from  1876  he  was  favorably 
known  as  bass-soloist,  organist  and  song-com- 
poser. In  1885  he  joined  Herbert  W.  Greene 
in  establishing  the  Metropolitan  Conservatory. 

Heath,  Wilbur  F.  (Corinth,  Vt.,  1843-1915, 
Danville,  111.),  a  band-master  in  the  Civil  War, 
studied  in  Boston,  from  about  1870  entered 
public-school  work  in  Iowa,   from   1873  was 


6:  1870-1880] 


CHRONOLOGICAL  REGISTER 


47 


music-supervisor  at  Fort  Wayne,  Ind.,  Osh- 
kosh,  Wis.,  and  Ottawa,  111.  He  was  active 
in  the  Music  Teachers'  National  Association. 

Heckscher,  Celeste  DuLongpre,  nee  Massey 
(b.  Philadephia,  1860) ,  began  composing  when 
only  a  child,  studied  in  Philadelphia  and  mar- 
ried there.     See  art. 

*Heinrich,  Max  (Saxony,  1853-1916,  New 
York) ,  came  to  Philadelphia  in  1873  as  singer 
and  teacher,  from  1876  taught  in  Alabama, 
from  1882  in  New  York,  from  1888  in  London, 
from  1894  in  Chicago,  from  1903  in  Boston,  and 
from  1910  again  in  New  York,  everywhere 
noted  as  a  baritone  of  fine  ability.     See  art. 

*Hennig,  Rudolph  (Germany,  1845-  ?  , 
a  graduate  at  Leipzig,  was  in  1872-79  leading 
'cellist  in  the  Thomas  Orchestra  and  later  in 
the  Mendelssohn  Quintette  Club.  In  1869  he 
was  one  of  the  founders  of  the  Philadelphia 
Musical  Academy. 

Henschel,  Lillian  June,  n6e  Bailey  (Colum- 
bus, O.,  1860-1901,  England),  trained  in  Bos- 
ton, made  her  debut  as  soprano  in  1876, 
then  studied  further  in  Paris  and  London, 
married  Georg  Henschel  in  1881  and  was 
much   associated  with   him   in    concerts. 

Hensel,  Octavia  [Mrs.  G.  A.  Fonda]  (1837- 
1897),  published  The  Life  and  Letters  of  L. 
M.  Gottschalk,  Boston,  1870,  and  other  books. 

Heritage,  Richard  Abraham  (b.  Mont- 
pelier,  O.,  1853),  studied  in  Chicago,  from  1877 
was  dean  of  the  music-school  of  Valparaiso 
University,  from  1895  at  Willamette  Uni- 
versity in  Oregon,  and  since  1905  head  of  the 
Musical  College  at  Spokane,  Wash.  He  is 
known  as  bass-soloist  and  choral  conductor. 

*Herman,  Reinhold  Ludwig  (b.  Prussia, 
1849),  singer,  pianist  and  composer,  in  1871-78 
worked  in  New  York,  and,  after  being  head  of 
the  Stern  Conservatory  in  Berlin,  from  1881 
was  again  in  New  York,  where  from  1884  he 
conducted  the  Liedertafel  and  from  1887  was 
instructor  in  music  at  Union  Theological 
Seminary,  removing  in  1898  to  Boston  as 
leader  of  the  Handel  and  Haydn  Society,  and 
in  1900  returning  to  Berlin.  For  list  of  works, 
see  Baker,   Diet,  of  Musicians,  p.  389. 

Heyman,  Henry  (b.  Oakland,  Cal.,  1855), 
studied  at  Leipzig,  from  1877  was  violinist  in 
San  Francisco,  with  tours  on  the  Pacific 
Coast  and  to  Hawaii,  and  has  been  influential 
in  promoting  orchestral  and  chamber-con- 
certs.    See  art. 

*Hille,  Gustav  (b.  Saxony,  1851),  a  good 
violinist,  came  to  America  in  1879  to  join  the 
Mendelssohn  Quintette  Club,  from  1880 
taught  at  the  Philadelphia  Musical  Academy, 
in  1899,  with  Leefson,  established  a  separate 
school,  and  in  1910  returned  to  Germany.  For 
works,  see  Baker,  Diet,  of  Musicians,  p.  400. 

*Hinrichs,  Gustav  (b.  Mecklenburg,  1850), 
was  from  1870  teacher  and  conductor  in  San 
Francisco,  in  1885-86  assistant  of  Thomas 
in  the  American  Opera  Company,  for  ten  years 
manager  and  conductor  of  his  own  organiza- 
tion,  with  headquarters   at   Philadelphia,    in 


1899-1906  conductor  at  Colvmabia  University, 
and  in  1903-08  at  the  Metropolitan  Opera 
House.  He  directed  the  first  American  per- 
formance of  '  Cavalleria  '  (1891),  '  I  Pagliacci  ' 
(1893)  and  '  Manon  Lescaut  '  (1894).  He 
composed  two  operas,  '  Die  vierjahrige  Posten  ' 
(1877)  and  '  Onti-Ora  '  (1891),  a  symphonic 
suite,  and  some  vocal  works. 

Holden,  Albert  James  (Boston,  1841-1916, 
Longmeadow,  Mass.),  from  about  1870  was 
organist  in  prominent  New  York  churches, 
composer  of  much  church-music,  and  compiler 
of  collections  of  choral  music. 

*Holst,  Edvard  (Denmark,  1843-1899,  New 
York),  came  to  New  York  about  1874,  chiefly 
as  dancer  and  play-writer,  but  also  brought 
out  much  comedy-music,  including  the  operetta 
'  Our  Flats  '    (1897),   band-music,   songs,   etc. 

*Horsley,  Charles  Edward  (England,  1822- 
1876,  New  York),  the  competent  English 
organist,  composer  and  critic,  spent  his  last 
years  in  New  York.     See  Vol.  ii.  435-6. 

*Jacobsohn,  Simon  E.  (Russia,  1839-1902, 
Chicago),  having  studied  at  Riga  and  Leipzig 
and  served  as  concertmaster  at  Bremen  from 
1860,  took  the  same  post  under  Thomas  in 
1872,  from  1878  was  violin-teacher  in  the 
Cincinnati  College  of  Music  and  later  in  the 
Chicago   Musical   College. 

Jordan,  Jules  (b.  Willimantic,  Conn.,  1850), 
trained  as  concert-tenor  in  Boston,  London 
and  Paris,  has  worked  since  1870  in  Providence, 
where  he  is  eminent  as  teacher,  conductor  and 
vocal  composer.     See  art. 

*Joseffy,  Raphael  (Hungary,  1852-1915, 
New  York),  already  noted  as  a  remarkable 
pianist,  came  to  New  York  in  1879,  immedi- 
ately becoming  a  foremost  figure.  See  Vol. 
ii.  545-6,  and  art. 

*Jung,  J.  B.  (b.  Switzerland,  1848),  a  Roman 
Catholic  priest,  trained  at  Coire,  came  to 
America  in  1870,  settling  first  in  Ohio,  and  was 
active  in  the  American  branch  of  the  Cacilien- 
verein,  started  in  1873  by  Singenberger. 

*Karl,  Tom  (Ireland,  1846-1916,  Roches- 
ter), a  favorite  operatic  tenor,  came  to  Amer- 
ica in  1871  with  Parepa-Rosa,  turned  soon  to 
light  opera,  from  1887  joined  Barnabee  in  the 
Bostonians,  contributing  much  to  their  success, 
and  retired  in  1896,  teaching  for  some  years 
in  New  York,  later  in  Rochester. 

Kimball,  Willard  (b.  Columbus,  O.,  1854), 
studied  at  Oberlin  and  Leipzig,  in  1875  estab- 
lished what  is  now  the  School  of  Music  at 
Grinnell  College  in  Iowa,  remaining  its  direc- 
tor till  1894,  when  he  founded  the  University 
School  of  Music  at  Lincoln,  Neb.,  of  which 
he  is  still  the  head.  He  has  also  been  organist, 
conductor  and  lecturer,  and  in  1898  was 
Director  of  Music  at  the  Omaha  Exposition. 

Klauser,  Julius  (New  York.  1854-1907, 
Milwaukee),  son  of  Karl  Klauser  (see  sec.  4) 
and  trained  by  him  and  at  Leipzig,  from  1874 
was  a  teacher  at  Milwaukee.  He  published 
an  able  treatise  on  Harmony,  The  Septonate, 
1890,  and  The   Nature  of  Music,  1909. 


48 


CHRONOLOGICAL  REGISTER 


[6:  1870-1880 


*Klein,  Bruno  Oscar  (Hanover,  1858-1911, 
New  York),  trained  by  his  father  and  at 
Munich,  came  to  America  in  1878  as  concert- 
pianist,  and  from  1884  was  teacher,  organist 
and  composer  in  New  York.     See  art. 

♦Koelling,  Adolph  (Hamburg,  1840-  ?  ), 
brother  and  pupil  of  Karl  W.  P.  Koelling 
and  otherwise  trained  at  Hamburg,  came 
to  America  in  1872,  and,  after  teaching  at 
Poughkeepsie,  became  head  of  the  theory-de- 
partment of  the  Chicago  Musical  College. 

*Kofller,  Leo  (Tyrol,  1837-1908,  New  Or- 
leans), from  1877  was  organist  of  St.  Paul's 
Chapel  in  New  York  and  vocal  teacher.  He 
published  The  Art  of  Breathing,  1889  (also 
in  German,  1897)  —  a  thoughtful  handbook. 

*Korbay,  Francis  Alexander  (Hungary, 
1846-1913,  England),  operatic  tenor  and  con- 
cert-pianist, came  to  America  in  1871,  touring 
as  player  and  then  teaching  in  New  York 
until  1894,  when  he  removed  to  London. 
See  Vol.  ii.  595,  and  art. 

Krehbiel,  Henry  Edward  (b.  Ann  Arbor, 
Mich.,  1854),  after  studying  law  at  Cincinnati, 
was  musical  critic  there  from  1874,  removing 
in  1880  to  New  York,  where  he  is  distinguished 
as  critic,  lecturer,  author  and  editor.  See 
Vol.  ii.  599,  and  art. 

Lanier,  Sidney  (Macon,  Ga.,  1842-1881, 
Lynn,  N.  C),  the  gifted  Southern  poet,  from 
1873  was  flutist  in  the  Peabody  Orchestra,  Bal- 
timore, and  lecturer  at  Johns  Hopkins  Univer- 
sity.    See  art. 

Levett,  David  Maurice  (New  York,  1844- 
1914,  New  York),  trained  at  Leipzig,  from  1876 
taught  in  New  Brunswick,  N.  J.,  Jacksonville, 
111.,  and  Chicago,  settling  in  New  York  in  1885, 
after  1900  teaching  in  the  College  of  Music. 
In  1898-1900  he  was  in  the  faculty  of  the 
Stern  Conservatory  in  Berlin.  He  composed 
the  symphonic  poems  '  Harlequinade  '  and 
'  Memories,'  a  Romance  and  Serenade  for 
violin  and  piano,  etc. 

Lichtenberg,  Leopold  (b.  San  Francisco, 
1861),  a  precocious  violinist,  touring  with 
Wieniawski  in  1873,  then  studied  at  Brussels 
with  him,  toured  in  America  and  abroad,  was 
in  the  Boston  Symphony  Orchestra  and  from 
1899  head  of  the  violin-department  of  the 
National  Conservatory  in  New  York.  Since 
1904  he  has  played  in  the  Margulies  Trio. 
See  art. 

*Lisser,  Louis  (b.  Pomerania,  1850),  after 
study  at  Berlin  and  tours  in  Prussia  as  pianist, 
came  to  San  Francisco  in  1879,  and  since  1880 
has  been  Dean  of  Music  in  Mills  College,  Oak- 
land (now  emeritus).  He  has  been  active  in 
many  musical  organizations. 

Lorenz,  Edmund  Simon  (b.  Stark  Co.,  O., 
1854),  graduated  from  Otterbein  University 
and  Yale  Divinity  School  and  continued  theo- 
logical study  at  Leipzig,  from  1885  was  pastor 
in  Dayton,  O.,  and  in  1887-88  president  of 
Lebanon  Valley  College  in  Pennsylvania,  but 
in  1890  turned  to  publishing  and  established 
his  now  extensive  business  at  Dayton.     Since 


1875  he  has  edited  many  books  for  choirs,  con- 
gregations and  Sunday-schools,  and  a  manual 
on  Practical  Church  Music,  1909.  See  Hall, 
Gospel  Song  and  Hymn  Writers,  pp.  318-22. 

Lutkin,  Peter  Christian  (b.  Thompsonville, 
Wis.,  1858),  trained  in  Chicago,  Berlin,  Paris 
and  Vienna,  organist  and  teacher  in  Chicago 
from  1872,  and  since  1891  at  Northwestern 
University,  Evanston  (dean  from  1897),  choral 
conductor,  composer  and  author.     See  art. 

Macdougall,  Hamilton  Crawford  (b.  War- 
wick, R.  I.,  1858),  studied  in  Boston  and  Lon- 
don, from  1874  was  organist  in  Providence  and 
later  in  Boston,  and  since  1900  has  been  pro- 
fessor at  Wellesley  College.     See  art. 

*Manoly,  Ludwig  Emanuel  (b.  HungarJ^ 
1855),  came  to  America  in  1876  as  double- 
bassist  in  the  Thomas  Orchestra  and  has  since 
been  a  noted  player  and  teacher  in  New  York. 

*Mapleson,  James  Henry  (England,  1829- 
1901,  England),  a  versatile  impresario,  con- 
ducted opera  seasons  in  New  York  at  the 
Academy  of  Music  in  1878-86  and  again  in 
1S96-97,  introducing  many  important  singers, 
but  maintaining  no  consistent  artistic  standard. 
See  Vol.  iii.  44. 

*MaureI,  Victor  (b.  France,  1848),  the  dis- 
tinguished operatic  baritone,  visited  America 
in  1874,  and  again  in  1894-95,  and  in  1909-10 
was  a  teacher  in  New  York.  See  Vol.  iii.  94, 
and  Baker,  Diet,  of  Musicians,  p.  592. 

McCoy,  WUliam  J.  (b.  Crestline,  O.,  1848), 
studied  in  New  York  and  Leipzig,  began  pro- 
ducing orchestral  works  in  1872  in  Germany, 
and  settled  in  San  Francisco  as  composer  and 
author.     See  art. 

Mees,  Arthur  (b.  Columbus,  O.,  1850), 
trained  at  Berlin,  began  teaching  in  the  Cin- 
cinnati College  of  Music,  and  since  1880  has 
been  a  versatile  and  accomplished  conductor 
as  well  as  a  forceful  critic  and  writer.     See  art. 

Morgan,  Maud  (b.  New  York,  1864),  daugh- 
ter and  pupil  of  George  W.  Morgan  (see  sec.  4), 
appeared  as  harpist  in  1875,  and,  after  study 
in  London,  became  a  favorite  concert-per- 
former in  New  York. 

Morse,  Charles  Henry  (b.  Bradford,  Mass., 
1853),  trained  in  Boston,  from  1873  taught 
there  and  at  Wellesley  College,  in  1885  estab- 
lished the  Northwestern  Conservatory  at 
Minneapolis,  from  1891  was  organist  in  Brook- 
lyn, and  since  1901  has  been  professor  at 
Dartmouth  College.  See  art.  His  brother, 
Frank  Eugene  Morse  (b.  1856),  has  long  been 
a  prominent  teacher  of  singing  in  Wellesley 
and  Boston. 

Myer,  Edmund  John  (b.  York  Springs,  Pa., 
1846),  eminent  as  vocal  teacher  and  expert 
since  1877,  chiefly  at  New  York.     See  art. 

*Nicholl,  Horace  Wadham  (b.  England, 
1848),  came  to  Pittsburgh  in  1871  as  organist, 
removing  in  1878  to  New  York,  where  he  has 
been  notable  as  player,  teacher,  composer  and 
writer.     See  Vol.  iii.  372,  and  art. 

*Nilsson,  Christine  (b.  Sweden,  1843),  the 
great    operatic    soprano,    first    appeared    in 


6:  1870-1880] 


CHRONOLOGICAL  REGISTER 


49 


America  in  1870  and  was  heard  at  intervals 
thereafter  till  her  retirement  in  1891.  See 
Vol.  Hi.  380-1,  and  art. 

Nordica,  Lillian  [Lillian  Norton]  (Farm- 
ington,  Me.,  1859-1914,  Java),  made  her 
debut  as  soprano  at  Boston  in  1876,  opening 
a  career  of  brilliant  success  in  America  and 
abroad  which  continued  till  her  death.  See 
Vol.  iii.  389-90,  and  art. 

Osgood,  Emma  Aline  (Boston,  1849-1911, 
Philadelphia),  appeared  as  soprano  in  Boston 
in  1873,  studied  later  in  London  and  became 
a  favorite  in  concert  and  oratorio  there  and 
from  1878  in  America.     See  art. 

Osgood,  George  Laurie  (b.  Chelsea,  Mass., 
1844),  graduated  from  Harvard  in  1866, 
studied  in  Germany  and  Italy,  from  1872  was 
famous  in  Boston  as  singer,  teacher,  conductor, 
composer  and  author,  and  since  1903  has  lived 
abroad.     See  art. 

Otis,  Philo  Adams  (b.  Berlin  Heights,  O., 
1846),  graduated  from  Western  Reserve  Col- 
lege in  1868,  though  occupied  in  business,  has 
long  been  musically  prominent  in  Chicago, 
and  has  composed  considerable  church  music. 
See  Baker,  Diet,  of  Musicians,  p.  669. 

Paine,  Richmond  Peck  (b.  New  Bedford, 
Mass.,  1858),  organist  from  1872  at  New  Bed- 
ford, from  1878  in  Hartford,  Meriden  and  New 
Britain,  Conn.,  becoming  also  notable  as 
choral  leader,  and  in  1905-15  conducted  the 
Litchfield  County  Choral  Union.     See  art. 

Parsons,  Albert  Ross  (b.  Sandusky,  C, 
1847),  studied  in  New  York,  Leipzig  and  Ber- 
lin, and  since  1872  has  been  a  leading  teacher 
of  piano  in  New  York,  with  considerable 
literary  work.     See  art. 

Patton,  Willard  (b.  Milford,  Me.,  1853), 
trained  as  tenor  in  Boston,  began  concert-sing- 
ing in  1877,  and  since  1883  has  been  identified 
with  Minneapolis  as  teacher,  conductor,  com- 
poser and  organizer.  In  1886-89  he  taught 
at  Hamline  University,  and  in  1890  started 
the  Philharmonic  Club,  conducting  it  till  1894. 
His  works  include  the  operettas  '  The  Gallant 
Garroter'  (1882)  and  'La  Fianza '  (1889), 
the  oratorio  '  Isaiah,'  the  opera  'Pocahontas  ' 
(1911),  a  symphonic  fantasy,  'The  Spirit  of 
'61  '  (1915),  and  other  patriotic  works,  such 
as  '  The  Star  of  Empire  '  (1900),  '  Footstones 
of  a  Nation  '  (1906),  and  '  Usona  '  (1918). 

*Piutti,  Max  (Saxony,  1852-1885,  Jackson, 
Mich.),  came  to  America  in  1874,  and  till  1883 
was  instructor  at  Wells  College.  He  left 
unfinished  a  work  on  The  Folk-Songs  of  the 
Nations. 

Pratt,  Silas  Gamaliel  (Addison,  Vt.,  1846- 
1916,  Pittsburgh),  trained  in  Chicago  and 
Berlin,  founded  the  Apollo  Club  in  Chicago 
in  1872  and  till  1888  was  active  as  teacher, 
pianist  and  composer  there,  in  1888-1902  was 
in  New  York,  and  from  1906  in  Pittsburgh. 
See  art. 

Pratt,  Waldo  Selden  (b.  Philadelphia,  1857), 
organist  from  about  1875,  since  1882  has  been 
professor  in  the  Hartford  Theological  Seminary 


and  in  1905-20  lecturer  at  the  Institute  of 
Musical  Art  in  New  York.  See  Baker,  Diet, 
of  Musicians,  pp.  721-2. 

Ritter,  Fanny,  nee  Rajonond  (Philadelphia, 
1840-1890,  Poughkeepsie),  wife  of  Fr6d6ric 
L.  Ritter  (see  sec.  4),  published  Woman  as  a 
Musician,  1877,  and  Some  Famous  Songs,  1878, 
and  translated  Ehlert's  Briefe  iiber  Musik, 
1877,  and  Schumann's  Gesammelte  Schriften, 
2  vols.,  1878-80. 

Rive-King,  Julie  (b.  Cincinnati,  1857), 
daughter  of  Caroline  Rive  (see  sec.  4),  after 
study  in  New  York  and  Germany,  began  her 
career  as  concert-pianist  in  1874-75  in  Leipzig 
and  New  York,  becoming  a  favorite  in  the 
Middle  West  and  Canada.  She  is  now  teaching 
at  the  Bush  Conservatory,  Chicago.     See  art. 

Robyn,  Alfred  George  (b.  St.  Louis,  1860), 
has  been  known  as  organist  and  pianist  since 
1876.  He  has  written  a  symphony,  the 
symphonic  poem  '  Pompeii,'  a  piano-concerto 
and  other  chamber-music,  a  mass,  three  sacred 
cantatas,  and  many  light  operas. 

*Rogers,  Clara  Kathleen,  nee  Barnett  (b. 
England,  1844),  studied  at  Leipzig,  Berlin  and 
Milan,  made  her  debut  as  operatic  soprano 
at  Turin  in  1863,  came  to  America  in  1871 
with  Parepa-Rosa,  and  since  1873  has  lived 
in  Boston  (marrying  Henry  M.  Rogers  in 
1878),  since  1902  on  the  staff  of  the  New 
England  Conservatorj'-.  She  has  published 
many  songs,  some  piano-pieces,  a  violin- 
sonata.  The  Philosophy  of  Singing,  1893,  My 
Voice  and  I,  1910,  English  Diction  wi  Song 
and  Speech,  1912,  The  Voice  in  Speech,  1915, 
and  Memories  of  a  Musical  Career,  1920.  Her 
stage-name  was  '  Clara  Doria.' 

Roosevelt,  Hilbourne  Lewis  (New  York, 
1848-1885,  New  York) ,  from  1872  was  a  gifted 
and  original  organ-maker  in  New  York,  a 
pioneer  in  novel  voicing  and  electric  action. 
Till  1893  the  business  was  finely  maintained 
by  his  brother,  Frank  H.  Roosevelt  (1861-93). 
See  art. 

*Rosenbecker,  Adolph  (Hesse,  1851-1919, 
San  Francisco),  well-trained  as  a  violinist,  came 
to  New  York  late  in  1869,  till  1877  played 
under  Thomas,  and  then  settled  in  Chicago 
as  teacher  and  conductor. 

*Rudersdorff,  Hermine  (Russia,  1822-1882, 
Boston),  the  noted  operatic  soprano,  after  a 
long  career  in  Europe,  in  1870  came  to  Boston 
as  concert-singer  and  effective  teacher.  See 
Vol.  iv.  189. 

Russell,  Louis  Arthur  (b.  Newark,  N.  J., 
1854) ,  trained  in  New  York  and  London,  since 
1878  has  been  organist,  teacher,  conductor  and 
composer  in  Newark.  He  has  been  active  in 
promoting  popular  interest,  especially  in  organ- 
izing and  conducting  the  Schubert  (Oratorio) 
Society  since  1878  and  the  S5anphony  Orchestra 
since  1894.  He  has  written  for  piano  and  voice, 
the  cantata  '  A  Pastoral  Rhapsody,'  and 
church-music,  besides  many  pedagogical  works, 
especially  upon  singing.  See  Who's  Who  in 
Music,  1918,  p.  545. 


50 


CHRONOLOGICAL  REGISTER 


[6:  1870-1880 


Salter,  Mary  Elizabeth,  nee  Turner  (b. 
Peoria,  111.,  1856),  studied  in  Buriington,  la., 
Boston  and  New  York,  was  from  1874  for 
twenty  years  church-  and  concert-soprano  in 
New  York  and  has  since  been  active  as  song- 
composer.     See  art. 

Salter,  Sumner  (b.  Burlington,  la.,  1856), 
graduated  from  Amherst  College  in  1877,  was 
trained  in  Boston,  and  since  1878  has  been 
a  teacher  and  organist  in  Boston,  New  York 
and  elsewhere,  since  1905  at  Williams  College. 
He  has  published  songs  and  church-music, 
besides  work  as  editor  and  writer.     See  art. 

Sanford,  Samuel  Simons  (Bridgeport,  Conn., 
1849-1910,  New  York),  trained  in  New  York, 
under  Rubinstein  and  in  Paris,  became  a 
remarkable  pianist  and  occasionally  appeared 
in  concert,  though  not  widely  known  until 
1894,  when  he  joined  the  Yale  School  of 
Music. 

Sankey,  Ira  David  (Edinburg,  Pa.,  1840- 
1908,  Brooklyn),  though  known  as  singer 
before  1860,  did  not  take  up  evangelistic  sing- 
ing till  1871,  when  he  joined  D.  L.  Moody, 
until  1899  touring  with  him  throughout  the 
United  States  and  Great  Britain.  He  wrote 
many  hymn-tunes  and  songs  of  popular 
character,  published  in  Sacred  Songs  and  Solos, 
1873,  Gospel  Hymns,  Nos.  1-6,  1875-91, 
Winnowed  Songs,  1890,  etc.  He  wrote  My 
Life  and  the  Story  of  the  Gospel  Hymns,  1906. 

*Scharwenka,  Franz  Xaver  (b.  Prussian 
Poland,  1850),  the  brilliant  pianist  and  peda- 
gogue, toured  in  America  in  1874-80,  con- 
ducted a  conservatory  in  New  York  in  1891- 
98,  and  came  again  in  1910-14.  Otherwise 
he  has  been  associated  with  Berlin.  See 
Vol.  iv.  249  and  art. 

*Schnecker,  Peter  August  (Hesse-Darm- 
stadt, 1850-1903,  New  York),  arrived  in  New 
York  in  1865,  studied  there  and  later  at 
Leipzig,  and  from  1872  was  organist  of  the 
West  Presbyterian  Church.  He  composed 
much  church-music  and  edited  collections  of 
organ-pieces. 

Schoenefeld,  Henry  (b.  Milwaukee,  1857), 
began  orchestral  playing  in  1873,  was  trained 
as  concert-pianist  at  Leipzig  and  Weimar, 
from  1879  was  teacher  and  conductor  at 
Chicago,  and  since  1904  has  been  conductor 
and  composer  at  Los  Angeles.     See  art. 

Shelley,  Harry  Rowe  (b.  New  Haven,  Conn., 
1858),  studied  first  at  New  Haven,  where  he 
began  as  organist  in  1872,  later  removing  to 
Brooklyn  and  New  York,  and  becoming  noted 
as  player,  composer  and  editor.     See  art. 

Sherwood,  William  Hall  (Lyons,  N.  Y., 
1854-1911,  Chicago),  studied  in  New  York 
and  Germany,  from  1876  appeared  as  fine 
concert-pianist,  settling  successively  in  Boston, 
New  York  and  (from  1889)  Chicago,  where  in 
1897  he  founded  the  Sherwood  Piano  School. 
See  art. 

*Singenberger,  Johannes  B.  (b.  Switzerland, 
1848),  highly  trained  in  Jesuit  colleges  and 
at    Munich,    came    to    America   in    1873    to 


teach  in  St.  Francis'  Academy,  Milwaukee,  and 
to  represent  the  Gregorian  revival  promoted 
since  1865  by  F.  X.  Witt  of  Landshut  (1834- 
1888).  In  1874  he  organized  a  branch  of  the 
Cacilienverein  and  started  the  periodical 
'  Cecilia.'  He  has  written  20  masses  and  other 
ritual-music. 

Smith,  Gerrit  (Hagerstown,  Md.,  1859-1912, 
Darien,  Conn.),  a  graduate  of  Hobart  College, 
studied  in  New  York,  Stuttgart  and  Berlin, 
was  organist  in  college,  at  Buffalo  and  Albany 
and  from  1885  in  New  York,  where  from  1898 
he  was  professor  in  Union  Theological  Semi- 
nary.    See  art. 

Sousa,  John  Philip  (b.  Washington,  1854), 
began  leading  theater-orchestras  about  1870, 
was  violinist  under  Offenbach  in  1876,  in 
1880-92  led  the  U.  S.  Marine  Band,  and  since 
has  won  international  fame  with  his  own  band. 
See  Vol.  iv.  628,  and  art. 

Strong,  George  Templeton  (b.  New  York, 
1856),  early  an  oboist,  from  1879  studied  and 
lived  in  Germany,  in  1891-92  taught  in  Boston, 
and  has  since  lived  in  Switzerland  as  composer. 
See  Vol.  iv.  728-9,  and  art. 

*Tamaro,  Josef  (Spain,  1824-1902,  New 
York),  a  pupil  of  Lamperti,  from  1876  was 
a  singing-teacher  in  Now  York. 

Thayer,  Arthur  Wilder  (b.  Dedham,  Mass., 
1857),  trained  in  Boston,  was  choral  conductor 
from  before  1880  and  in  1882-88  music-super- 
visor at  Dedham  and  Milton,  and  since  1888 
has  been  organist  at  Newton,  Mass.,  compos- 
ing church-music,  songs  and  piano-pieces. 

Thursby,  Emma  Cecelia  (b.  Brooklyn,  1854), 
trained  as  soprano  in  New  York,  Boston  and 
Milan,  sang  in  America  in  1875  and  frequently 
after  1879,  besides  tours  all  over  the  world. 
See  Vol.  v.  99,  and  art. 

Toedt,  Theodore  J.  (b.  New  York,  185.3), 
studied  in  New  York,  from  about  1873  became 
known  as  an  artistic  concert-tenor,  and  since 
1895,  becoming  blind,  has  been  a  teacher  in 
New  York.  His  wife,  Ella  A.  Toedt,  nee 
Earle,  is  an  accomplished  soprano  and  teacher. 

*Tomlins,  William  Lawrence  (b.  England, 
1844),  came  to  New  York  in  1870,  from  1875 
till  1910  was  located  at  Chicago  as  conductor 
and  director  of  public-school  music.     See  art. 

Trowbridge,  John  Eliot  (b.  Newton,  Mass., 
1845-1912,  Newton),  studied  at  Northampton 
and  Wellesley,  Mass.,  and  about  1870  became 
organist  and  composer  in  Boston  and  from  1881 
at  Newton.  He  wrote  the  oratorio  '  Em- 
manuel,' a  mass  and  other  church-music,  the 
cantata  '  The  Heroes  of  '76,'  part-songs  and 
songs. 

Tubbs,  Frank  Herbert  (b.  Brighton,  Mass., 
1853),  trained  in  Boston,  London  and  Milan, 
became  choir-master  and  vocal  teacher  in  New 
York,  founding  the  Vocal  Institute  and  writing 
upon  the  voice-  For  some  years  he  has  been 
engaged  in  business. 

Tucker,  Hiram  G.  (b.  Cambridge,  Mass., 
1851),  studied  at  Boston,  becoming  a  concert- 
pianist  and  organist  there,  later  conductor  of 


6:  1870-1880] 


CHRONOLOGICAL  REGISTER 


51 


choral  and  chamber-concerta.  Since  1878  he 
has  taught  at  Wheaton  College,  Norton,  Mass. 

Ttirner,  Alfred  Dudley  (St.  Albans,  Vt., 
1854-1888,  St.  Albans),  trained  at  the  New 
England  Conservatory  in  Boston,  where  he 
became  a  valued  piano-teacher.  His  pub- 
lished works  include  chamber-music,  piano- 
pieces  and  a  Method  of  Octave-Playing. 

Valleria,  Alwina  [Mrs.  R.  H.  P.  Hutchinson] 
(b.  Baltimore,  1848),  studied  in  England, 
becoming  a  striking  operatic  soprano  from 
1871.  Though  living  in  England  and  active 
in  Europe,  in  1879-86  she  appeared  often  in 
America.     See  Vol.  v.  211-2. 

Van  Cleve,  John  Smith  (b.  Maysvillc,  Ky., 
1851) ,  studied  in  Columbus,  Boston  and  Cincin- 
nati, from  1872  taught  at  the  Institute  for  the 
Blind  in  Columbus,  from  1875  at  Janesville, 
Wis.,  in  1879-97  was  teacher,  lecturer  and  critic 
at  Cincinnati,  removed  thence  to  Chicago,  later 
to  Troy,  and  in  1913  to  New  York.     See  art. 

Van  Zandt,  Marie  (New  York,  1861-1919, 
France),  trained  as  opera-soprano  in  Milan, 
made  her  debut  at  Turin  in  1879,  sang  in  Paris, 
London,  and  throughout  Europe,  in  1S91-92 
was  at  the  MetropoUtan  Opera  House,  in  1896 
returned  to  Paris,  and  retired  in  1898.  See 
Vol.  V.  585-6,  and  art. 

*Vogrich,  Max  Wilhelm  Karl  (Transylvania, 
1852-1916,  New  York),  already  noted  as  pianist 
and  composer,  came  first  to  New  York  in  1878, 
returned  in  1886-1902,  and  again  from  1914. 
See  art. 

Webb,  Frank  Rush  (b.  Covington,  Ind., 
1851),    studied   in   Boston   and    Indianapolis, 


becoming  organist  in  1873,  from  1876  at  Lima, 
O.,  from  1883  at  Staunton,  Va.,  where  he  was 
music-director  in  the  school  now  known  as 
Stuart  Hall,  and  since  1910  has  been  critic  in 
Baltimore.  He  has  written  band-music,  piano- 
pieces,  and  vocal  music. 

*  Weiss,  Carl  Thomas  (b.  Bavaria,  1844), 
trained  in  Munich,  since  1870  has  been  organist 
in  Roman  Catholic  churches  in  New  Orleans, 
besides  conducting  singing-societies  and  teach- 
ing in  convent-schools.  He  has  written  arti- 
cles connected  with  the  Cacilia  movement. 

*Werrenrath,  George  (Denmark,  1838-1898, 
Brooklyn),  an  experienced  operatic  tenor, 
came  to  New  York  in  1876,  becoming  widely 
recognized  as  an  accomplished  singer,  especially 
in  concert.  He  was  one  of  the  first  to  give 
series  of  song-recitals. 

Wild,  Harrison  Major  (b.  Hoboken,  N.  J., 
1861),  trained  at  Leipzig  and  Chicago,  since 
1876  has  been  organist  in  Chicago  and  since 
1895  distinguished  choral  conductor.  See 
art. 

Woodman,  Raymond  Huntington  (b.  Brook- 
lyn, 1861),  son  of  J.  C.  Woodman  (see  sec. 
4),  trained  in  Brooklyn  and  Paris,  has  been 
organist  since  1875,  from  1880  at  the  First 
Presbyterian  Church,  Brooklyn,  and  since  1894 
professor  at  Packer  Institute.     See  art. 

*Zeisler,  Fannie,  nee  Bloomfield  (b.  Austrian 
Silesia,  1863),  came  to  Chicago  as  a  child,  was 
first  trained  there,  appearing  as  pianist  in 
1876,  then  studied  in  Vienna,  and  since  1883 
has  been  famous  on  both  sides  of  the  Atlantic. 
See  Vol.  i.  341,  and  art. 


No  one  wlio  studies  tlie  details  of  musical  activity  in  America  — as  suggested, 
for  example,  in  tlie  lists  of  persons  liere  given,  or  as  otherwise  brouglit  togetlier  — 
can  miss  the  fact  that  from  1880  onward  there  was  a  notewortliy  awal<;ening  of 
artistic  interest  and  effort  in  all  directions.  The  number  of  significant  foreign 
musicians  who  now  become  residents  is  at  least  twice  that  in  any  preceding  decade, 
and  the  number  of  those  native-born  increases  in  almost  the  same  proportion. 
Part  of  this  merely  statistical  appearance  may  be  due  to  the  lacli  before  about 
1880  of  systematic  effort  to  make  record  of  the  lives  and  work  of  musicians^.  But 
the  fact  remains  impressive  after  all  allowances. 

Certain  events,  already  mentioned,  were  specially  important.  One  was  the 
founding  in  1881  of  the  Boston  Symphony  Orchestra,  destined  to  become  an  edu- 
cational force  felt  throughout  the  country.  Another  was  the  fruitage  of  the 
many  years  of  faithful  planting  of  taste  and  aptitude  on  the  part  of  the  veteran 
Theodore  Thomas.  Another  was  the  establishment  in  New  York  in  1884-85  of 
German  opera  under  Leopold  Damrosch  on  a  scale  and  with  a  popular  appeal  that 
were  unprecedented.  Another  was  the  extension  of  series  of  classical  concerts  in 
many  places,  gradually  opening  the  minds  of  widening  circles  of  hearers  to  the 
wealth  of  sterling  musical  literature.  Another  was  the  coming  to  bear  of  the 
influence  of  the  earlier  conservatories  through  their  graduates,  who  now  begin  to 
become  centers  of  stimulus  as  private  teachers.    In  connection  with  all  these,  as  in 


52  HISTORICAL  INTRODUCTION 

arousing  proper  interest  in  the  ability  of  native  composers  and  performers,  the 
increase  of  rational  criticism  and  discussion  in  periodicals  and  books  played  no 
small  part. 

Quite  apart  from  these  specific  factors  in  progress,  it  may  be  that  much  of  the 
sudden  access  of  momentum  musically  was  due  to  diffused  influences  permeating 
the  whole  social  fabric.  The  strain  of  the  Civil  War  time  was  passing  away,  and 
a  new  era  of  consolidated  advance  in  things  economic,  political  and  educational 
was  setting  in.  The  observer  of  musical  progress  notes  the  reaction  of  all  this  in 
his  own  field.     Doubtless  observers  in  other  fields  would  note  it  similarly  in  theirs. 

Here  is  an  appropriate  point  to  refer  to  the  influence  of  national  and  inter- 
national expositions.  Those  held  in  Europe  prior  to  1880  had  no  relation  to  the 
advance  of  music  in  America  except  as  they  stimulated  makers  of  instruments  — 
chiefly  pianos  —  to  compete  for  recognition.  But  those  held  in  the  United  States 
from  1876  onward  not  only  gave  a  similar  industrial  impetus,  but  usually  exalted 
elaborate  musical  features  into  prominence  and  thus  contributed  positively  to 
popular  education. 

The  first  of  the  larger  American  expositions  was  the  Centennial,  held  at  Phila- 
delphia in  1876.  Aside  from  some  general  exercises  and  frequent  piano-  and 
organ-recitals,  its  main  importance  to  music  was  in  the  display  and  competition 
of  instruments.  The  second  was  the  Columbian,  held  at  Chicago  in  1893.  Here 
the  musical  provisions  were  extraordinarily  profuse  and  generally  superior,  largely 
due  to  the  imagination,  energy  and  authority  of  Theodore  Thomas,  and  the 
impress  upon  popular  thought  was  correspondingly  significant.  The  third  was 
the  Louisiana  Purchase,  held  at  St.  Louis  in  1904,  at  which  the  effort  was  made  to 
emulate  the  musical  elaboration  of  its  Chicago  predecessor,  though  without 
achieving  quite  the  same  practical  success.  Meanwhile  a  host  of  lesser  expositions 
were  brought  to  pass  —  among  them  the  California  Mid-Winter  at  San  Francisco 
in  1894,  the  Trans-Mississippi  at  Omaha  in  1898,  and  the  Pan-American  at  Buffalo 
in  1901  —  all  taking  pains  to  magnify  music  in  a  greater  or  less  degree.  To  these 
may  be  added  —  though  outside  the  period  here  under  review  —  those  at  James- 
town in  1907,  at  Portland  and  Seattle  in  1905  and  1909,  and,  still  more  important, 
the  Panama  celebrations  at  San  Diego  and  San  Francisco  in  1915-16. 

The  cultural  reaction  of  these  numerous  and  often  immense  undertakings  is 
beyond  question.  In  the  domain  of  the  fine  arts  they  tended  to  arouse  interest 
and  elevate  taste  in  regard  to  architecture,  painting,  sculpture  and  music  by  means 
of  manifold  demonstrations  of  a  more  or  less  monumental  kind. 

In  analyzing  the  lists  of  names  that  follow,  attention  should  be  given  not 
only  to  the  wider  range  from  which  both  the  foreign-born  and  the  native-born 
come,  but  also  to  the  wider  range  geographically  and  occupationally  to  which 
they  go.  If  the  facts  could  be  depicted  graphically,  it  would  appear  that  both 
derivations  and  destinations  now  begin  to  spread  out  like  the  unfolding  leaves 
of  a  fan. 


7:  1880-1890] 


CHRONOLOGICAL  REGISTER 


58 


CHRONOLOGICAL  REGISTER 


7.   The  Decade  of  Artistic  Awakening  — 
1880-1890 

Abbey,  Henry  Eugene  (Akron,  O.,  1846- 
1896,  New  York),  who  had  been  a  jeweler  and 
later  owner  and  manager  of  theaters,  in  1883-84 
leased  the  Metropolitan  Opera  House  in  New 
York  at  its  opening,  provided  a  brilliant  troupe 
and  a  fair  Italian  repertorj^  but  with  a  net  loss 
of  perhaps  $500,000.  Recouping  himself  at 
Chicago  in  1889-91,  with  Schoefifel  and  Grau 
in  1891-92  and  1894-97  he  undertook  the 
Metropolitan  again,  this  time  with  more 
success,  but  died  in  the  effort. 

*Adamowski,  Joseph  (b.  Poland,  1862),  an 
expert  'cellist,  joined  the  Boston  Symphony 
Orchestra  in  1889,  and  since  1903  has  taught 
at  the  New  England  Conservatory.     See  art. 

Adams,  Mrs.  Crosby,  nee  Juhette  Graves 
(b.  Niagara  Falls,  N.  Y.,  1858),  from  about 
1880  organist  and  teacher  in  Leroy,  N.  Y., 
Buffalo  and  Kansas  City,  from  1892  in  Chicago, 
and  since  1913  at  Montreat,  N.  C.  She  has 
specialized  in  teaching  children  and  training 
teachers,  has  composed  and  edited  pedagogical 
music,  and  has  written  Chapters  from  a  Musical 
Life,  1903,  and  What  the  Piano  Writings  of 
MacDowell  Mean  to  the  Piano-Student,  1913. 

Aldrich,  Perley  Dunn  (b.  Blackstone,  Mass., 
1863),  studied  at  Boston,  London  and  Paris, 
in  1885-87  taught  at  the  University  of  Kansas, 
from  1889  at  the  Utica  Conservatory,  from 
1891  at  Rochester,  and  since  1903  in  Phila- 
delphia.    See  art. 

Ambrose,  Paul  (b.  Hamilton,  Ont.,  186S), 
trained  mostly  in  New  York,  was  organist 
there  in  1886-1917,  and  since  1904  has  been 
music-director  in  the  State  Normal  School 
at  Trenton,  N.  J.     See  art. 

♦Archer,  Frederick  (England,  1838-1901, 
Pittsburgh),  who  had  been  organist  and  con- 
ductor in  London,  in  1881  came  as  organist 
to  Brooklyn  and  New  York,  from  1885  editing 
'  The  Keynote,'  from  1887  conducted  the 
Boston  Oratorio  Society,  and  in  1896-98  led 
the  Pittsburgh  Orchestra.  See  Vol.  i.  101-2, 
and  art. 

*Arens,  Franz  Xavier  (b.  Rhine  Prov.,  1856), 
brought  up  in  Milwaukee,  but  trained  mostly 
in  Germany,  from  1885  was  conductor  in 
Cleveland,  in  1890-92  concertized  in  Europe, 
and  since  1900  has  given  high-class  popular 
concerts  in  New  York.     See  art. 

*Ashmall,  WUliam  E.  (b.  England,  1860),  for 
many  years  organist  in  New  York,  Brooklyn 
and  (since  1912)  Newark,  N.  J.,  and  head 
of  a  music-school  in  Arlington,  N.  J.,  has 
played  much  in  concert  and  edited  '  The  Or- 
ganist's Journal '  and  many  organ-collections. 

*Austin,  John  Turnell  (b.  England,  1869), 
came  to  Detroit  in  1889  as  organ-maker,  soon 
became  noted  as  the  inventor  of  'the  universal 
wind-chest,'  and  in  1899  organized  the  Austin 


Organ  Company  at  Hartford,  Conn.,  of  which 
he  is  president,  ably  assisted  by  his  brother, 
Basil  George  Austin  (b.  1874),  who  joined  him 
in  1893. 

Ayres,  Eugene  Edmond  (Russellville,  Ky., 
1859-1920,  Philadelphia) ,  instructor  in  Greek 
from  1879  in  various  colleges  and  from  1903  pro- 
fessor at  Crozer  Theological  Seminary  (Chester, 
Pa.),  was  expert  in  music  from  youth.  He 
pubUshed  a  brief  Haiidhook  of  Musical  History, 
1882,  and  Counterpoint  and  Canon,  1886,  was 
on  the  staff  of  'The  Etude'  in  1888-93,  and 
was  musical  editor  of  the  notable  Baptist 
hymnal  Sursum  Corda,  1898. 

*Baermann,  Carl,  Jr.  (Bavaria,  1839-1913, 
Newton,  Mass.),  pianist  and  composer,  came 
to  Boston  in  1881,  becoming  at  once  a  lead- 
ing artist  and  teacher.  See  Vol.  i.  162,  and 
art. 

Baier,  Victor  (b.  New  York,  1861),  has  been 
organist  at  Trinity  Church,  New  York,  since 

1884  (assistant  till  1897),  and  active  in  the 
A.  G.  O.  (warden  in  1920). 

Bassett,  Franklin  (Wheeling,  W.  Va.,  1852- 
1915,  Pasadena,  Cal.),  finely  trained  at  Leip- 
zig, from  1877  was  pianist  in  Cleveland,  and 
from  1882,  with  Heydler  (see  below),  directed 
the  Cleveland  Conservatory.     See  art. 

Beach,  Amy  Marcy,  nee  Cheney  [Mrs.  H. 
H.  A.]  (b.  Henniker,  N.  H.,  1867),  trained  in 
Boston,  from  1883  appeared  as  concert- 
pianist,  and  soon  became  eminent  in  composi- 
tion.    See  Vol.  i.  210,  and  art. 

Beck,  Johann  Heinrich  (b.  Cleveland,  1856), 
trained  at  Leipzig,  settled  in  1882  in  Cleveland 
as  violinist,  founded  the  Schubert  Quartet, 
from  1886  conducted  his  own  works  in  many 
cities,  and  in  1901-12  led  the  Cleveland 
Symphony  Orchestra  and  other  organizations. 
See  art. 

Bendix,  Max  (b.  Detroit,  1866),  studied  in 
New  York,  Cincinnati  and  Berlin,  was  concert- 
master  at  the  Metropolitan  Opera  House  in 
1886  and  1905,  also  under  Thomas  in  1886-96, 
and  since  1906  has  been  conductor  in  New 
York,  Chicago,  London,  etc.     See  art. 

*Bendix,  Otto  (Denmark,  1845-1904,  San 
Francisco),  who  had  been  piano-teacher  and 
oboist  in  Copenhagen,  came  in  1880  to  Boston 
as  teacher  in  the  New  England  Conservatory, 
and  from  1895  directed  a  school  in  San 
Francisco. 

Benham,  Victor  (b.  Brooklyn,  1871),  a  boy- 
pianist  from  1880,  first  in  New  York,  in  1882 
in  London  and  in  1885  in  Paris,  and  then 
toured  the  Continent.  Except  in  1890-1900 
and  1904-12,  he  has  lived  abroad  as  virtuoso, 
teacher  and  writer.     See  art. 

Bentley,  William  Frederick  (b.  Lenox,  O., 
1859),  graduated  from  Oberlin  College  in  1883, 
studied  at  Chicago,  Leipzig,  Berlin,  Paris  and 
London,  taught  at  New  Lyme,  O.,  and  since 

1885  has  been  head  of  the  Knox  Conservatory, 


54 


CHRONOLOGICAL  REGISTER 


[7:  1880-1890 


Galesburg,  111.,  and  since  1899  conductor  of  the 
Musical  Union.     See  art. 

Berger,  Wilhelm  (Boston,  1861-1911,  Sax- 
ony), brought  up  in  Germany,  became  a  strong 
piano-teacher,  conductor  and  composer,  and 
spent  his  whole  life  abroad.  See  Vol.  i.  308, 
and  art. 

Binder,  Fritz  (b.  Baltimore,  1873),  brought 
up  in  Germany  and  appearing  widely  as  a 
prodigy  from  1880,  studied  at  Cologne,  de- 
veloping as  pianist  and  choral  leader,  from 
1896  was  conductor  at  Solingen  (near  Cologne), 
and  since  1901  has  been  head  of  the  Singaka- 
demie  at  Danzig. 

*Blanck,  Hubert  de  (b.  Holland,  1856),  in 
1880  toured  South  America  as  pianist,  in 
1881-82  taught  in  New  York,  and  in  1883 
went  to  Havana,  establishing  in  1885  what  is 
now  the  Conservatorio  Nacional.     See  art. 

*Bonvin,  Ludwig  (b.  Switzerland,  1850), 
trained  as  a  Jesuit  priest,  came  to  Canisius 
College,  Buffalo,  in  1887  as  music-director, 
and  has  been  much  engaged  upon  historical 
studies  and  composition.     See  art. 

*Bott,  Jean  Joseph  (Hesse,  1826-1895,  New 
York),  well  known  as  violinist  and  composer 
at  Meiningen  and  Hanover,  from  1885  lived 
in  New  York. 

Brooks,  Henry  Mason,  of  Salem,  Mass.,  from 
1886  published  a  series  of  studies  of  old  New 
England  life,  chiefly  gathered  from  newspapers, 
including  Olden-Time  Music,  1888. 

*Browne,  John  Lewis  (b.  England,  1866), 
finished  training  as  organist  in  New  York, 
from  1888  played  in  Chicago,  from  1892  at 
San  Francisco,  also  leading  symphony-concerts, 
from  1899  at  Atlanta,  in  1908-10  at  Philadel- 
phia, and  since  1912  at  Chicago.     See  art. 

*Bruenner,  Leopold  (b.  Bavaria,  1869), 
finished  his  education  in  Minneapolis,  where 
from  1886  he  taught,  in  1889  became  organist 
and  teacher  in  St.  Paul,  and  in  1910  organized 
the  Charal  Art  Society,  largely  devoted  to 
a  cappella  music.  He  has  composed  a  grand 
mass  (1895),  songs,  etc. 

*Brune,  Adolf  Gerhard  (b.  Hanover,  1870), 
in  1889  came  to  Peoria,  111.,  as  organist,  from 
1894  studied  at  Chicago,  in  1898  becoming 
a  useful  teacher  at  the  Musical  CoUege,  with 
much  composition.     See  art. 

Bryant,  Gilmore  Ward  (b.  Bethel,  Vt.,  1859), 
trained  in  Boston  and  New  York,  has  taught 
since  1885  in  various  schools  in  the  South, 
especially  the  Southern  Conservatory,  Dur- 
ham, N.  C,  which  he  founded  in  1898  and  has 
since  directed. 

Burdett,  George  Albert  (b.  Boston,  1856), 
graduated  from  Harvard  in  1881,  studied  in 
Boston,  Hanover  and  Berlin,  settled  in  Boston 
as  church-organist,  chiefly  at  the  New  Old 
South  Church.  Besides  being  a  gifted  player 
and  choir-director,  he  has  composed  church- 
music,  songs  and  piano-pieces,  and  written  for 
periodicals. 

Burleigh,  Henry  Thacker  (b.  Erie,  Pa., 
1866),    was   a   church-singer   before    1890,    in 


1892  won  a  scholarship  and  studied  in  the 
National  Conservatory,  New  York,  taught 
there  two  years,  since  1894  has  been  baritone 
at  St.  George's  and  since  1899  also  at  Temple 
Emanu-El,  and  has  sung  in  concert  both  in 
America  and  Europe.  He  has  written  striking 
songs,  has  arranged  Negro  religious  melodies, 
and  in  1917  received  a  prize  for  conspicuous 
achievement  as  representing  the  Negro  race. 

*Burmeister,  Richard  (b.  Hamburg,  1860), 
was  director  of  the  Peabody  Conservatory, 
Baltimore,  in  1885-97,  and  of  the  Scharwenka 
Conservatory,  New  York,  in  1897-99.  Since 
1903  he  has  worked  at  Dresden  and  Berlin. 
See  art. 

Burr,  WUlard,  Jr.  (b.  Ravenna,  O.,  1852), 
trained  at  Oberlin  and  Berlin,  since  about 
1880  has  been  an  industrious  composer  in 
Boston,  his  works  including  string-quartets, 
piano-trios,  a  violin-.sonata,  many  piano- 
pieces,  songs  and  considerable  church-music. 

Burton,  Frederick  Russell  (Jonesville,  Mich., 
1861-1909,  Lake  Hopatcong,  N.  J.),  graduated 
from  Harvard  in  1882,  went  into  journalism 
and  also  became  a  leading  exponent  of  the 
music  of  the  Indians,  making  extensive  in- 
vestigations, publishing  articles  and  books,  and 
composing  upon  Indian  themes.     See  art. 

Busch,  Carl  (b.  Denmark,  1862),  in  1887 
came  to  Kansas  City,  where  he  has  been 
increasingly  active  as  conductor  and  composer, 
since  1912  leading  the  Symphony  Orchestra. 
See  art. 

Camp,  John  Spencer  (b.  Middletown,  Conn., 
1858),  graduated  from  Wesleyan  University  in 
1878,  studied  in  New  York,  since  1882  has  been 
prominent  in  Hartford,  Conn.,  as  organist  in 
leading  churches,  in  1902-11  conductor  of  the 
Philharmonic  Orchestra,  and  a  composer  in 
several  forms.     See  art. 

*Campanari,  Giuseppe  (b.  Italy,  1858),  in 
1884  joined  the  Boston  Symphony  Orchestra  as 
'cellist,  but  since  1893  has  been  a  noted  oper- 
atic baritone,  mostly  in  New  York.     See  art. 

*Campanari,  Leandro  (b.  Italy,  1857), 
appeared  in  Boston  as  violinist  in  1881,  becom- 
ing teacher  in  the  New  England  Conservatory 
and  organizing  a  Quartet,  in  1887-90  was  in 
Europe,  from  1890  taught  at  the  Cincinnati 
Conservatory,  in  1897-1905  was  director  at 
La  Scala,  Milan,  in  1906-07  was  substitute- 
conductor  at  the  Metropolitan  Opera  House 
and  of  the  Philadelphia  Symphony  Orchestra, 
and  since  1907  has  taught  in  San  Francisco. 
He  has  published  instruction-books  and  songs. 

*Campanini,  Cleofonte  (Italy,  1860-1919, 
Chicago),  appeared  in  1883  as  assistant- 
conductor  at  the  Metropolitan  Opera  House, 
again  in  1887,  from  1906  at  the  Manhattan 
Opera  House,  and  from  1910  with  the  Chicago 
Opera  Company.  See  art.  His  wife,  Eva 
Campanini,  nee  Tetrazzini  (b.  Italy,  1864), 
noted  as  stage-soprano  since  1883,  is  a  singer 
in  the  Chicago  Company. 

Carl,  William  Crane  (b.  Bloomfield,  N.  J., 
1865),  studied  in  New  York  and  Paris,  from 


7:  1880-1890] 


CHRONOLOGICAL  REGISTER 


55 


1882  was  organist  at  Newark,  and  since  1892 
at  the  First  Presbyterian  Church,  New  York, 
and  also  since  1899  director  of  the  Guilmant 
Organ  School,  which  he  founded.     See  art. 

♦Carnegie,  Andrew  (Scotland,  1837-1919, 
Lenox,  Mass.),  the  iron-manufacturer  and 
philanthropist,  began  his  extensive  gifts  to 
musical  enterprises  before  1890.     See  art. 

Cawley,  Edgar  Moore  (b.  Pyrmont,  O., 
1871),  trained  at  Cincinnati  and  later  at 
Leipzig,  from  1887  taught  at  the  Cincinnati 
Conservatory,  and  in  1897  established  the 
Indianapolis  Conservatory,  of  which  he  is  now 
manager. 

Chace,  Frank  Wilbur  (b.  Providence,  R.  I., 
1868) ,  studied  in  Boston  and  New  York,  began 
as  organist  in  1883,  holding  positions  in 
Mobile,  Nashville  and  Seattle,  appearing  also 
as  recitalist  and  conductor,  and  since  about 
1910  has  been  music-director  at  Willamette 
University,  Salem,  Ore. 

Champlin,  John  Denison  (Stonington,  Conn., 
1834-1915,  New  York),  was  from  1873  to  1912 
editor  of  many  books  of  reference,  including  a 
Cyclopedia  of  Music  and  Musicians,  3  vols., 
1888-90  (with  W.  F.  Apthorp),  carefully 
executed  along  its  chosen  lines. 

*Chapek,  Joseph  Horymir  (b.  Bohemia, 
1860),  came  in  1883  to  Milwaukee  as  violinist, 
organized  a  Quintet  Club  and  a  Quartet  Club 
in  1885,  was  concertmaster  in  the  Bach 
Symphony  Orchestra  in  1885-88,  and  since 
1888  has  worked  at  Chicago,  teaching  in 
various  schools,  playing  in  the  Thomas 
Orchestra,  and  since  1910  directing  his  own 
Music  School.  He  represents  the  method  of 
his  teacher  Sevcik. 

Chase,  Mary  Wood  (b.  Brooklyn,  1868), 
trained  as  pianist  at  Boston  and  Berlin,  began 
public  appearances  in  1886  in  Boston,  in 
1894-96  assisted  Raif  at  Berlin,  concertized 
extensively  for  some  years,  and  since  1906 
has  been  head  of  her  own  school  for  advanced 
piano-playing  in  Chicago.     See  art. 

*Claassen,  Arthur  (Prussia,  1859-1920,  San 
Francisco),  already  known  as  conductor  and 
composer,  came  in  1884  as  leader  of  the  Arion 
Society  in  Brooklyn,  later  of  the  New  York 
Liederkranz  and  of  various  festivals,  and  from 
1910  was  conductor  and  organizer  of  many 
enterprises  at  San  Antonio,  Tex.  For  list  of 
works,  see  Baker,  Diet,  of  Musicians,  p.  161. 

Clarke,  Herbert  Lincoln  (b.  Woburn,  Mass., 
1867),  son  of  Wm.  H.  Clarke  (see  sec.  4), 
developed  early  as  cornettist,  first  at  Toronto, 
then  under  Gilmore,  Herbert,  and  Sousa  (till 
1918  the  latter 's  assistant),  and  has  toured  the 
world. 

Clippinger,  David  A.  (b.  Ohio,  1860),  studied 
at  Fort  Wayne,  Ind.,  Boston,  Chicago,  Berlin 
and  London,  from  1885  taught  at  Fort  Wayne, 
and  since  1887  has  been  a  leading  teacher  of 
singing  in  Chicago.     See  art. 

Clough-Leighter,  Henry  (b.  Washington, 
1874),  trained  at  Toronto,  in  1888  became 
organist  at  Washington,  from  1899  at  Provi- 


dence, and  since  1901  at  Boston,  with  much 
editorial  work.     See  art. 

Combs,  Gilbert  Raynolds  (b.  Philadelphia, 
1863),  began  musical  activity  in  Philadel- 
phia before  1880.  In  1885  he  established  the 
Broad  Street  Conservatory,  of  which  he  is 
director.     See  art. 

Commery,  Stephen  (b.  Cleveland,  1862), 
trained  at  Cincinnati,  has  been  a  piano-teacher 
in  Cleveland  since  1885,  founding  the  West  Side 
Musical  College  in  1901  and  directing  it  since. 

Coppet,  Edward  J.  de  (New  York,  1855- 
1916,  New  York),  a  New  York  banker  and 
broker  who  from  1886,  besides  assisting  in- 
dividual artists,  maintained  choice  chamber- 
music  at  his  residence,  and  in  1902  established 
the  famous  Flonzaley  Quartet.     See  art. 

Cottlow,  Augusta  (b.  Shelbyville,  111.,  1878), 
gave  a  piano-recital  as  early  as  1885,  studied 
in  Chicago,  and  appeared  often  from  1888,  but 
since  1896  has  mostly  lived  abroad.     See  art. 

Curtis,  Henry  Holbrook  (New  York,  1856- 
1920,  New  York),  from  1880  specialist  in 
laryngology  and  vocal  hygiene,  and  author  of 
Voice- Building  and   Tone-Placing,  1894. 

Cutter,  Benjamin  (Woburn,  Mass.,  1857- 
1910,  Boston),  trained  in  Boston  and  Stuttgart, 
was  from  1882  teacher  at  the  New  England 
Conservatory,  violinist,  composer  and  author. 
See  art. 

*Damrosch,  Frank  Heino  (b.  Silesia,  1859), 
son  of  Leopold  Damrosch  (see  sec.  6),  studied 
in  New  York,  from  1882  was  conductor  and 
supervisor  in  Denver,  from  1885  chorus- 
master  at  the  Metropolitan  Opera  House,  New 
York,  also  head  of  important  choral  enter- 
prises, and  since  1905  director  of  the  Institute 
of  Musical  Art.     See  Vol.  i.  656-7,  and  art. 

*Danirosch,  Walter  Johannes  (b.  Silesia, 
1862),  brother  of  the  foregoing,  trained  in  New 
York  and  Germany,  in  1885  succeeded  his 
father  in  New  York  as  conductor,  in  1894-1900 
directed  the  Damrosch  Opera  Company,  in 
1900-02  was  conductor  at  the  Metropolitan 
Opera  House,  etc.,  besides  much  composition. 
See  Vol.  i.  657,  and  art. 

Dann,  HoUis  Ellsworth  (b.  Canton,  Pa., 
1861),  has  taught  in  Ithaca,  N.  Y.,  since  1887, 
at  first  in  the  public  schools  and  since  1906  as 
professor  in  Cornell  University.     See  art. 

*Davis,  David  (b.  Wales,  1855),  since  1880 
has  been  prominent  at  Cincinnati  as  church- 
singer,  choral  conductor  and  promoter  of 
Welsh  singing-societies. 

Davis,  John  Herbert  (b.  Lexington,  Mass., 
1860),  after  extended  study  in  Boston  and 
London,  was  organist  at  PhiUips  Academy, 
Andover,  Mass.,  in  1884-86  teacher  at  the 
Illinois  Woman's  'College  in  Jacksonville,  in 
1886-99  director  of  the  Illinois  Conservatory 
there,  and  since  1899  music-director  at  Ran- 
dolph-Macon Woman's  College,  Lynchburg,  Va. 

Dayas,  William  Humphries  (New  York, 
1864-1903,  England),  studied  in  New  York, 
was  organist  there  for  some  years,  went  to 
Germany,      becoming     concert-pianist,     and 


56 


CHRONOLOGICAL  REGISTER 


[7:  1880-1890 


toured  with  Senkrah  in  1888.  After  1890  he 
lived  mostly  abroad,  at  Helsingfors,  Diisseldorf, 
Wiesbaden,  Cologne,  and  from  1896  at  Man- 
chester, England.     See  art. 

De  Koven,  Henry  Louis  Reginald  (Middle- 
town,  Conn.,  1859-1920,  Chicago),  brought 
up  in  England,  studied  there  and  on  the 
Continent,  from  1887  was  highly  successful 
as  composer  of  light  opera,  from  1889  also 
music-critic,  mostly  in  New  York,  and  a 
prolific  song-composer.     See  art. 

Dennee,  Charles  Frederick  (b.  Oswego, 
N.  Y.,  1863),  educated  at  the  New  England 
Conservatory  in  Boston,  since  1883  has  been 
a  leading  piano-teacher  in  that  institution, 
and  until  1897,  when  disabled  by  accident,  also 
a  successful  concert-player.     See  art. 

Dickinson,  Clarence  (b.  La  Fayette,  Ind., 
1873),  trained  at  Chicago,  Berlin  and  Paris, 
appeared  in  concert  in  1885  as  pianist,  and 
has  been  organist  and  conductor  since  1890, 
chiefly  in  Chicago  and  New  York.     See  art. 

Donley,  William  Henry  (b.  New  Haven, 
Conn.,  1863),  after  study  at  Boston  and  Lon- 
don, began  his  long  career  as  concert-organist 
in  1882,  becoming  also  an  expert  on  organ- 
construction.  Lately  he  has  been  conductor 
in  Seattle.     See  art. 

Douglas,  Charles  Winfred  (b.  Oswego,  N. 
Y.,  1867),  trained  at  Syracuse  and  Denver, 
from  1889  was  organist  at  Syracuse  and  sing- 
ing-teacher in  Syracuse  University  one  year, 
from  1894  at  Denver,  from  1907  canon  pre- 
ceptor at  the  Fond  du  Lac  Cathedral,  and 
since  1910  living  at  Peekskill,  N.  Y.     See  art. 

*Douillet,  Pierre  (b.  Russia,  1861),  came  to 
America  as  pianist  before  1890,  taught  in 
New  York,  from  1897  at  the  College  of  the 
Pacific,  San  Jose,  Cal.,  and  since  1913  in  his 
own  school  in  San  Francisco.  He  has  pub- 
lished piano-pieces  and  a  piano-concerto. 

Douty,  Nicholas  (b.  Philadelphia,  1870), 
trained  in  Philadelphia,  London  and  Paris, 
from  1887  was  organist  in  Philadelphia,  and 
since  about  1895  has  been  eminent  as  concert- 
tenor  throughout  the  country,  specializing 
in  the  music  of  Bach.     See  art. 

Eames,  Emma  Hayden  (b.  China,  1865,  of 
American  parents),  studied  in  Boston  and 
Paris,  made  her  debut  at  Paris  in  1889  and 
at  New  York  in  1891,  and  continued  famous 
as  an  operatic  soprano  for  twenty  years.  See 
Vol.  i.  761,  and  art. 

*Edwards,  Julian  (England,  1855-1910, 
Yonkers,  N.  Y.),  from  1888  lived  at  Yonkers, 
mainly  occupied  with  composition.  Of  his 
operas,  the  more  serious  are  '  Corinne  '  (1880), 
'  Victorian  '  (1883),  '  Elfinella,'  '  King  Rene's 
Daughter'  (1893),  'The  Patriot'  (1907), 
and  the  lighter,  'Jupiter'  (1892),  'Friend 
Fritz  '  (1893),  '  Brian  Bom  '  (1893),  '  Goddess 
of  Truth'  (1896),  '  Madeleine  '  (1902),  '  Dolly 
Varden'  (1902);  also  the  cantatas  'The 
Redeemer,'  '  Lazarus,'  '  Mary  Magdalen,' 
'  The  Lord  of  Light  and  Love,'  and  the  song- 
collection  Sunlight  and  Shadow. 


Egbert,  William  Grant  (b.  Danby,  N.  Y., 
1869),  a  precocious  violinist,  appearing  first 
in  1877,  studied  at  Syracuse  and  Prague, 
where  for  three  years  he  was  concertmaster 
of  the  Sevcik  String  Orchestra,  in  1892  founded 
the  Ithaca  Conservatory,  of  which  he  has  been 
director  in  1892-1903  and  since  1917. 

Epstein,  Marcus  Isaac  (b.  Mobile,  Ala., 
1855)  and  Epstein,  Abraham  Isaac  (b.  Mobile, 
1857),  brothers,  educated  at  Leipzig,  early 
made  a  reputation  for  two-piano  playing,  and 
since  1902  have  conducted  the  Beethoven 
Conservatory  at  St.  Louis. 

*Faelten,  Carl  (b.  Thuringia,  1846),  an 
experienced  piano-teacher,  came  to  the  Pea- 
body  Conservatory,  Baltimore,  in  1882,  re- 
moved to  the  New  England  Conservatory, 
Boston,  in  1885,  becoming  its  head  in  1890, 
and  since  1897  has  directed  his  own  Pianoforte 
School  with  much  success.  See  art.  His 
brother,  Reinhold  Faelten  (b.  1856),  has  been 
associated  with  him  in  all  these  undertakings. 

Fairclough,  George  Herbert  (b.  Hamilton, 
Ont.,  1869),  educated  at  Toronto  and  Berlin, 
has  been  organist  since  1882,  from  1900  at  St. 
Paul,  where  he  has  also  been  teacher  of  piano 
in  Macalester  Conservatory  since  1904. 

Fairclough,  William  Erving  (b.  near  Barrie, 
Ont.,  1859),  brother  of  the  foregoing,  trained 
in  London,  from  1885  was  organist  in  England, 
from  1887  in  Montreal,  and  since  1890  in 
Toronto,  where  he  also  teaches  in  the  College 
of  Music  and  is  examiner  for  the  University. 

*Federlein,  Gottlieb  Heinrich  (b.  Bavaria, 
1835),  from  about  1880  organist  and  vocal 
teacher  in  New  York,  now  living  at  the  Presser 
Home  in  Philadelphia.  He  has  published 
a  vocal  method  and  essays  on  Wagner's  '  Ring.' 

Finck,  Henry  Theophilus  (b.  Bethel,  Mo., 
1854),  graduated  from  Harvard  in  1876, 
studied  there  and  in  Munich,  has  been  since 
1881  musical  critic  for  the  '  Evening  Post '  in 
New  York  and  a  voluminous  author.     See  art. 

*Fique,  Karl  (b.  near  Bremen,  1867),  since 
1887  has  been  organist,  pianist,  conductor  and 
lecturer  in  Brooklyn.  He  has  composed  the 
comic  operas  '  Papa  Priesewitz  '  (1898)  and 
'  Der  falsche  Mufti '  (1901),  a  string-quartet, 
some  choral  works,  etc. 

*Fischer,  Emil  (Brunswick,  1838-1914, 
Hamburg),  the  distinguished  operatic  bass, 
sang  at  the  Metropolitan  Opera  House  in  1885- 
91,  and  in  1895  and  '97.  He  decided  to  re- 
main permanently  as  singing-teacher.     See  art. 

Fisher,  William  Arms  (b.  San  Francisco, 
1861),  studied  in  Oakland,  New  York  and 
London,  taught  at  the  National  Conservatory, 
New  York,  and  since  1897  has  been  editor  for 
the  Ditson  Company  in  Boston.     See  art. 

*Foley,  Allan  James  [Signor  Foli]  (Ireland, 
1835-1899,  England),  a  notable  operatic  bass, 
was  widely  known  in  America  from  about  1880. 
See  Vol.  ii.  70. 

*Fremstad,  Olive  Nayan  (b.  Sweden  c. 
1870),  was  brought  as  a  child  to  Minneapolis, 
from  about  1886  was  a  church-singer,  from 


7:  1880-1890] 


CHRONOLOGICAL  REGISTER 


67 


1890  taught  the  piano  in  New  York,  studied 
in  Berlin,  from  1896  was  a  leading  stage- 
soprano  in  Germany,  and  since  1903  has  been 
even  more  famous  in  America.     See  art. 

*Freund,  John  Christian  (b.  England,  1848), 
since  1871  in  editorial  work  in  New  York, 
about  1885  turned  to  music-journalism,  largely 
on  the  side  of  the  music-trades,  and  since  1898 
has  published  '  Musical  America.'     See  art. 

Gale,  Walter  C.  (b.  Cambridge,  Mass.,  1871), 
graduated  from  the  College  of  the  City  of  New 
York  in  1891,  began  as  organist  in  New  York 
in  1887  and  has  been  continuously  in  service 
since,  from  1905  at  the  Broadway  Tabernacle. 
See  art. 

*Gariel,  Edoardo  (b.  Monterey,  Mex.,  1860), 
trained  in  Paris,  since  1887  has  been  in  govern- 
ment employ,  from  1887  at  Saltillo,  and  since 
1900  in  Mexico  City.     See  art. 

*Geibel,  Adam  (b.  Baden,  1855),  brought 
to  America  as  a  child,  studied  in  Philadelphia, 
and  since  1885  has  been  active  as  organist, 
conductor  and  publisher  (from  1897).  He 
has  written  sacred  cantatas,  etc.  He  is  one 
of  the  striking  examples  of  a  blind  musician. 

*Gericke,  Wilhelm  (b.  Styria,  1845),  coming 
from  Vienna,  in  1884-89  and  1898-1906  was 
conductor  of  the  Boston  S>^llphony  Orchestra, 
since  then  in  retirement  at  Vienna.  See  Vol. 
ii.  159,  and  art. 

*Godowsky,  Leopold  (b.  Russian  Poland, 
1870),  the  distinguished  pianist,  visited  Amer- 
ica in  1884-85  and  again  in  1890-91,  from 
1892  taught  in  Philadelphia  and  from  1894  in 
Chicago,  leaving  for  Berlin  in  1900,  and  since 
1914  has  made  his  headquarters  at  New  York 
or  in  the  West.     See  Vol.  ii.  194,  and  art. 

*Gomes  de  Aranjo,  Joao  (b.  Brazil,  1849), 
trained  as  dramatic  composer  at  Rio  de  Ja- 
neiro and  in  Italy,  produced  the  opera  '  Car- 
mosina  '  in  1887  at  Milan,  followed  by  several 
others,  and  has  also  written  sjTnphonies  and 
other  orchestral  works.  Since  1905  he  has 
taught  in  the  Conservatory  at  Sao  Paulo. 

Goodrich,  John  Wallace  (b.  Newton,  Mass., 
1871),  studied  in  Boston  and  later  in  Munich 
and  Paris,  was  organist  in  Newton  from  1886, 
and  since  1897  has  been  teacher  and  from  1907 
dean  at  the  New  England  Conservatory  in 
Boston,  as  well  as  organist  in  prominent 
churches  and  with  the  Boston  Symphony 
Orchestra,  and  choral  conductor.     See  art. 

*Gorno,  Albino  (b.  Italy,  ?  ),  after  acting 
as  Patti's  accompanist  in  1881-82,  joined  the 
faculty  of  the  Cincinnati  College  of  Music, 
where  he  still  is.     See  art. 

Gow,  George  Coleman  (1).  Ayer,  Mass., 
1860),  graduated  from  Brown  University  in 
1884,  studied  at  Pittsfield  and  Worcester, 
Mass.,  later  also  at  Berlin,  from  1889  taught  at 
Smith  College,  and  since  1895  has  been  pro- 
fessor at  Vassar  College.     See  art. 

Greene,  Herbert  Wilber  (b.  Holyoke,  Mass., 
1851),  trained  in  New  York,  London  and 
Paris,  in  1885,  with  Charles  B.  Hawley  (see 
sec.  6),  founded  the  Metropolitan  College  of 


Music  in  New  York,  and  in  1900  started  the 
Summer  School  of  Singing  at  Brookfield 
Center,  Conn.,  which  he  still  directs.  Besides 
his  gifts  as  a  singing-teacher,  he  has  shown 
much  ability  as  an  organizer,  and  has  been 
president  of  the  Clef  Club  in  New  York  in 
1895-6,  of  the  Music  Teachers'  National  Asso- 
ciation in  1897-8,  and  of  the  National  Asso- 
ciation of  Teachers  of  Singing  in  1909-10.  He 
has  also  been  on  the  staff  of  '  The  Etude  '  and 
'  The  Musician,'  and  edited  The  Standard 
Graded  Course  of  Singing,  4  vols.  His  wife, 
*Caia  Greene,  nee  Aarup  (b.  Denmark,  1864), 
a  fine  pianist,  educated  at  Copenhagen  and 
Paris,  came  to  America  about  1887. 

Griswold,  Gertrude  (New  York,  1861-1912, 
England),  studied  in  Paris,  made  a  brilliant 
debut  as  operatic  soprano  there  in  1881  and 
later  was  further  successful  in  England,  in  1887 
singing  with  Patti  in  New  York. 

*Hackh,  Otto  Christoph  (Wiirtemberg,  1852- 
1917,  Brooklyn),  an  able  concert-pianist,  in 
1880-89  taught  in  the  Grand  Conservatory, 
New  York,  in  1891-95  lived  abroad,  and  from 
1895  was  again  teacher  and  composer  in  New 
York.  His  piano-works  and  songs  are  nu- 
merous, effective  and  popular. 

*Hahn,  Reynaldo  (b.  Venezuela,  1874),  was 
taken  as  a  chUd  to  Paris,  where  he  was  edu- 
cated and  has  remained  as  an  opera-composer. 
For  list  of  works  see  Baker,  Diet,  of  Musicians, 
p.  353;  also  see  Vol.  ii.  271. 

Hale,  Edward  Danforth  (b.  Aquebogue,  N. 
Y.,  1859),  graduated  from  W^illiams  College 
in  1880,  studied  at  the  New  England  Con- 
servatory, taught  there  from  1885,  and  since 
1905  has  been  dean  of  the  School  of  Music  in 
Colorado  College. 

Hall,  Jay  RoUin  (b.  Brighton,  O.,  1860), 
trained  at  Oberlin,  Leipzig,  and  later  Berlin, 
from  1884  was  head  of  the  music-school  in  the 
Illinois  Wesleyan  University,  from  1892 
teacher  in  the  Oberlin  Conservatory,  and  since 
1898  has  been  organist  at  Cleveland. 

*HaU,  Walter  Henry  (b.  England,  1862), 
arriving  in  1883,  from  1884  was  organist  in 
Germantown,  Pa.,  from  1890  in  Albany,  and 
in  1896-1913  at  St.  James',  New  York,  being 
also  from  1889  conductor  of  choral  societies 
in  Brooklyn  and  New  York,  and  since  1909 
professor  in  Columbia  University.     See  art. 

Hamilton,  Clarence  Grant  (b.  Providence, 
1865),  graduated  from  Brown  University  in 
1888,  studied  in  Boston  and  London,  from  1889 
was  organist  in  Providence,  and  since  1904  has 
been  professor  at  Wellesley  College,  as  well  as 
organist  and  author.     See  art. 

*Hammerstein,  Oscar  (Prussia,  1847-1919, 
New  York),  came  to  New  York  as  a  cigar- 
maker,  from  1888  was  noted  as  a  daring  pro- 
moter of  theatrical  and  operatic  enterprises, 
among  which  was  the  Manhattan  Opera  House, 
opened  in  1906,  and  the  Philadelphia  Opera 
House,  opened  in  1908.     See  art. 

Hammond,  William  Churchill  (b.  RockvUle, 
Conn.,   1860),  studied  in  Hartford  and  New 


58 


CHRONOLOGICAL   REGISTER 


[7:  lSSO-1890 


York,  was  organist  in  Connecticut,  and  since 
1885  has  been  at  Holyoke,  Mass.,  becoming 
widely  known  as  a  superior  concert-player. 
From  1890  he  also  taught  at  Smith  College, 
and  since  1900  has  been  professor  at  Mount 
Holyoke  College.     See  art. 

♦Harris,  Charles  L.  M.  (b.  England,  1863), 
educated  at  Toronto,  from  about  1886  was 
identified  with  Hamilton,  Ont.,  as  organist, 
conductor  and  teacher,  and  is  now  organist  at 
Port  Huron,  Mich. 

Harris,  WilUam  Victor  (b.  New  York,  1869), 
studied  in  New  York  and  since  1889  has  been 
organist,  conductor  and  composer  there,  from 
1902  leading  the  St.  Cecilia  Club.     See  art. 

*Harriss,  Charles  Albert  Edwin  (b.  England, 
1862),  since  1883  has  been  organist,  conductor 
and  composer  at  Montreal,  recently  returning 
to  England.     See  art. 

*Hartmann,  Arthur  Martinus  (b.  Hungary, 
1881),  was  taken  as  a  child  to  Philadelphia, 
studied  there  and  in  Boston,  appeared  as  early 
as  1887  as  child- violinist,  developing  into  a 
finished  virtuoso.     See  art. 

Hayden,  Philip  Cady  (b.  Brantford,  Ont., 
1854),  educated  at  Oberlin,  has  been  music- 
supervisor  at  Quincy,  111.,  in  1888-1900,  and 
also  at  Keokuk,  la.,  since  1892.  Since  1900  he 
has  edited  '  School  Music,'  devoted  to  the  in- 
terests of  public-school  workers,  and  has  been 
prominent  in  various  teachers'  associations. 

Hedden,  Warren  Rosecrans  (b.  New  York, 
1861),  trained  in  New  York,  has  been  church- 
and  concert-organist  there  and  elsewhere,  be- 
sides activity  in  the  A.  G.  O.     See  art. 

Henderson,  William  James  (b.  Newark,  N. 
J.,  1855),  in  journalistic  work  since  1883, 
since  1887  has  been  a  leading  musical  critic  in 
New  York,  first  on  '  The  Times  '  and  later  on 
'  The  Sun,'  and  also  a  brilliant  lecturer  and 
author.     See  art. 

Henry,  Hugh  Thomas  (b.  Philadelphia, 
1862),  a  highly  trained  Roman  Catholic  priest, 
has  since  1889  been  professor  in  Overbrook 
Seminary  in  Philadelphia,  emphasizing  the 
subject  of  church-music.  In  1905-09  he  edited 
'  Church-Music,'  and  has  written  for  other 
journals,  including  '  The  Musical  Quarterly.' 

*Henschel,  Isidor  Georg  (b.  Silesia,  1850), 
the  eminent  baritone,  was  in  1881-84  conductor 
of  the  Boston  Symphony  Orchestra,  having 
previously  toured  as  singer.  In  1905-08  he 
taught  in  New  York.  See  Vol.  ii.  381-2, 
and  art. 

♦Herbert,  Victor  (b.  Ireland,  1859),  the  well- 
known  'cellist,  came  to  New  York  in  1880  as 
leading  player  in  several  orchestras,  conductor 
and  composer,  remaining  there  except  in  1898- 
1904,  when  he  led  the  Pittsburgh  Orchestra. 
See  Vol.  ii.  384,  and  art.  His  wife,  Therese 
Herbert,  n6e  Forster,  earlier  an  opera-singer 
in  Vienna,  appeared  in  New  York  from  1887. 

♦Herrmann,  Eduard  (b.  Germany,  1850), 
since  1871  concert-violinist,  came  to  New 
York  in  1881,  organized  a  Quartet  and  later  a 
Trio   of  importance,   and  has   been   a  useful 


teacher.  He  has  written  much  violin-  and 
chamber-music,  including  a  concerto,  quartet, 
quintet  and  sextet,  a  violin-method,  songs,  etc. 

Heydler,  Charles  (b.  Cleveland,  1861),  has 
been  known  as  'cellist  in  chamber-ensembles 
in  Detroit,  Buffalo  and  Cleveland  for  many 
years,  and  since  1885  has  been  head  of  the 
Cleveland  Conservatory. 

Higginson,  Henry  Lee  (New  York,  1834- 
1919,  Boston),  a  wealthy  Boston  banker,  in 
1881  founded  the  famous  Boston  Symphony 
Orchestra,  which  he  continued  to  control 
until  1918.     See  art. 

♦Hofmann,  Josef  Casimir  (b.  Galicia,  1876), 
gave  over  fifty  concerts  in  America  in  1887-88, 
and  since  1898  has  been  immensely  popular, 
spending  much  time  in  residence.  See  Vol. 
ii.  417,  and  art. 

Holman-Black,  Charles  (b.  Philadelphia, 
?  ),  trained  in  New  York  and  Paris,  since 
about  1880  has  been  widely  known  as  an  oper- 
atic singer,  appearing  in  America  from  1888 
for  some  years,  but  mostly  in  England  and 
France.     He  lives  in  Paris. 

Hood,  Helen  (b.  Chelsea,  Mass.,  1863), 
studied  in  Boston  and  Berlin,  and  is  notable 
in  the  Boston  circle  as  a  gifted  composer  of 
songs.     See  art. 

*Hopekirk,  Helen  (b.  Scotland,  1856), 
already  a  successful  pianist,  toured  in  America 
in  1883-85  and  in  1891-92,  and  since  1897  has 
lived  in  Boston  as  player,  teacher  and  com- 
poser.    See  art. 

*Houseley,  Henry  (b.  England,  1851),  having 
been  organist  in  England,  came  to  America  in 
1888,  and  settled  in  Denver  as  cathedral-organ- 
ist, choral  conductor  and  composer.     See  art. 

Howland,  William  (b.  Worcester,  Mass., 
1871),  studied  in  New  York  and  London,  in 
1889  began  to  be  favorably  known  as  a  concert- 
and  operatic  bass,  from  1895  was  active  in 
New  York,  Worcester  and  Boston,  from  1900 
taught  in  the  University  of  Michigan,  and 
since  1914  has  taught  in  Detroit. 

Humiston,  William  Henry  (b.  Marietta,  O., 
1809),  studied  in  Chicago  and  New  York, 
from  1889  was  organist  in  or  near  Chicago, 
from  1896  at  East  Orange,  N.  J.,  and  in  1900- 
09  at  Rye,  N.  Y.  In  1909-12  he  conducted 
operatic  troupes,  and  since  1912  has  been 
connected  with  the  New  York  Philharmonic 
Society,  from  1916  as  assistant-conductor. 
See  art. 

Huneker,  James  Gibbons  (b.  Philadelphia, 
1800),  after  study  in  Philadelphia,  New  York 
and  Paris,  from  1881  taught  at  the  National 
Conservatory  in  New  York,  and  since  1891  has 
become  conspicuous  as  a  brilliant  critic  and 
author.     See  art. 

Huss,  Henry  Holden  (b.  Newark,  N.  J., 
1862),  son  of  George  J.  Huss  (see  sec.  4), 
trained  in  New  York  and  Munich,  has  been 
since  1885  a. leading  pianist,  teacher  and  com- 
poser in  New  York.     See  art. 

♦Hyllested,  August  (b.  Sweden,  1858,  of 
Danish  parents),  after  notable  early  tours  as 


7:  1880-1890] 


CHRONOLOGICAL  REGISTER 


59 


pianist  abroad,  in  1885  toured  in  America,  from 
1886  was  assistant-director  of  tlie  Chicago  Mu- 
sical College,  from  189 1  taught  in  the  Gottschalk 
Lyric  School,  in  1894-97  concertized  in  Europe, 
and  then  returned  to  Chicago.     See  art. 

*Januschowsky,  Georgine  von  [Frau  Adolf 
Neuendorff]  (Austria,  1859 ?-1914,  New  York), 
a  gifted  operatic  soprano,  sang  successfully  in 
New  York  in  1880-91  and  in  1893-95  in 
Vienna. 

Johns,  Clayton  (b.  Newcastle,  Del.,  1857), 
at  first  educated  as  an  architect,  studied  music 
at  Boston  and  Berlin,  and  since  1884  has  made 
his  headquarters  at  Boston  as  concert-pianist, 
teacher,  composer  and  author.     See  art. 

*Johnstone,  Arthur  Edward  (b.  England, 
1860),  brought  to  New  York  as  a  boy  and 
educated  there,  has  devoted  himself  to  sys- 
tematizing piano-methods  and  manuals  for 
public-school  music,  especially  as  editor  for 
the  American  Book  Company.     See  art. 

Johnstone-Bishop,  Mrs.  Genevra  (b.  Van 
Wert,  O.,  1864),  trained  as  a  dramatic  soprano 
at  Oberlin,  London  and  Paris,  made  her  debut 
in  1889,  toured  extensively  in  England  and 
America,  and  has  lately  taught  in  Chicago. 

Jones,  F.  O.,  in  1886  published  a  notable 
Handbook  of  American  Music  and  Musicians, 
compiled  with  care  and  intelligence. 

Juch,  Emma  Antonia  Joanna  (b.  Austria, 
1865,  of  American  parents),  trained  in  New 
York,  appeared  there  in  concert  in  1882  and 
in  opera  in  1883,  and  until  her  retirement 
about  1895  was  a  favorite  soprano.     See  art. 

*Kaun,  Hugo  (b.  Prussia,  1863),  the  dis- 
tinguished composer,  was  teacher  and  con- 
ductor at  Milwaukee  in  1887-1902.     See  art. 

Kelley,  Edgar  Stillman  (b.  Sparta,  Wis., 
1857),  studied  at  Chicago  and  Stuttgart,  from 
1880  was  organist  in  Oakland  and  San  Fran- 
cisco, from  1886  lectured  in  New  York,  from 
1902  taught  in  Berlin,  and  since  1910  has  been 
theory-teacher,  composer  and  author  at  Cin- 
cinnati.    See  Vol.  ii.  562-3,  and  art. 

Kelly,  Thomas  James  (b.  Ireland,  1870),  in 
1889-1916  was  organist  at  Omaha,  singing- 
teacher,  conductor  and  critic,  having  charge  of 
the  music  at  the  Exposition  there  in  1898, 
conducting  festivals  in  1911-15  and  leading 
the  Mendelssohn  Choir.  Since  1916  he  has 
taught  in  Chicago,  specializing  in  recitals  of 
Irish  music  and  community-singing. 

Kelso,  Hugh  Alexander,  Jr.  (b.  Charleston, 
111.,  1862),  trained  at  Chicago,  from  1885 
concert-pianist  at  New  York,  has  been  since 
1893  head  of  the  School  of  Musical  and  Drama- 
;        tic  Art  in  Chicago.     See  art. 

*Kneisel,  Franz  (b.  Rumania,  1865,  of 
German  parents),  came  to  the  Boston  Sym- 

P  phony  Orchestra  as  concertmaster  in  1885, 
remaining  till  1903,  and  since  1905  has  taught 
at  the  Institute  of  Musical  Art,  New  York. 
In  1886  he  founded  the  famous  Kneisel  Quartet 
(dissolved  in  1917).  See  Vol.  ii.  589,  and  art. 
Kobbe,  Gustav  (New  York,  1857-1918,  Bay 
Shore,  N.  Y.),  trained  at  Wiesbaden  and  New 


York,  a  graduate  of  Columbia  (arts,  1877, 
law,  1879),  was  for  over  thirty  years  a  facile 
writer  on  musical  subjects.     See  art. 

*Kreisler,  Fritz  (b.  Austria,  1875) ,  the  gifted 
violinist,  first  toured  in  America  in  1889,  came 
again  in  1900,  and  often  since.  See  Vol.  ii. 
599-600,  and  art. 

Kjoeger,  Ernest  Richard  (b.  St.  Louis, 
1862),  studied  at  St.  Louis,  and  since  1883  has 
been  active  there  as  organist,  pianist,  teacher, 
conductor  and  composer,  also  as  concert-pianist 
and  lecturer  elsewhere.     See  art. 

*Kronold,  Hans  (b.  Poland,  1872),  appeared 
in  New  York  as  'cellist  in  1886,  played  with 
the  Symphony  Society  in  1893-97,  and  has 
taught  many  years  at  the  New  York  College  of 
Music.     See  art. 

*Kuzd6,  Victor  (b.  Hungary,  1869),  visited 
America  as  concert-violinist  in  1884,  and, 
after  study  in  London,  returned  in  1887, 
settling  as  player  and  teacher  in  New  York. 
He  has  published  several  works  for  violin. 

Lachmund,  Carl  Valentine  (b.  Booneville, 
Mo.,  1857),  trained  at  Wiesbaden  and  Berlin 
and  under  Liszt,  appeared  as  pianist  in  Amer- 
ica in  1880  and  '87,  from  1891  has  taught  in 
New  York,  and  in  1890-1908  conducted  the 
Women's  String  Orchestra,  which  he  organ- 
ized.    See  art. 

*Lahee,  Henry  Charles  (b.  England,  1856), 
came  to  Boston  about  1883,  in  1891-99  was 
secretary  of  the  New  England  Conservatory, 
and  since  then  has  conducted  a  musicians' 
agency.  He  has  published  a  series  of  popular 
historical  handbooks  —  singers,  1898,  violin- 
ists, 1899,  pianists,  1900,  the  opera  in  America, 
1901,  organists,  1902,  opera-singers,  1912. 

L'AlIemand,  Pauline,  nee  Ellhasser  (b. 
Syracuse,  1862?),  educated  at  Dresden  and 
Paris,  appeared  with  the  American  Opera 
Company  in  New  York  in  1886  as  a  brilliant 
operatic  soprano. 

*Lambert,  Alexander  (b.  Poland,  1862), 
came  to  New  York  in  1880  as  a  visiting  pianist, 
returned  in  1884,  in  1887-1905  was  director 
of  the  College  of  Music,  and  has  continued 
since  as  teacher.     See  art. 

*Lankow,  Anna  (Rhine  Prov.,  1850-1908, 
Rhine  Prov.),  since  1870  a  noted  singer,  came 
to  New  York  in  1885,  first  as  concert-singer, 
later  as  teacher.  She  published  Die  Wissen- 
schaft  des  Kunstgesangs,  1899,  4th  ed.,  1905. 

*Leefson,  Maurits  (b.  Holland,  1861),  came 
as  concert-pianist  in  1887  to  Philadelphia, 
where  he  taught  for  some  years  in  the  Musical 
Academy,  and  in  1899  joined  Gustav  Hille 
(see  sec.  6)  in  the  Leefson-Hille  Conservatory, 
which  he  still  conducts. 

Lehmann,  George  (b.  New  York,  1865), 
trained  at  Leipzig  and  Berlin,  since  1883  has 
been  violinist,  teacher,  conductor  and  writer, 
from  1886  at  Cleveland,  from  1889  abroad, 
from  1893  in  New  York,  from  1907  in  Berlin, 
and  since  1916  again  in  New  York.     See  art. 

*Lehmann,  Lilli  (b.  Bavaria,  1848),  a  famous 
stage-soprano  since  1865,  came  to  America  in 


60 


CHRONOLOGICAL  REGISTER 


[7:  1880-1890 


1885-89,  returning  in  1891-92.  See  Vol.  ii. 
667. 

*Lewing,  Adele  (b.  Hanover,  1866),  a 
Leipzig  graduate  in  1885,  taught  in  Chicago 
and  Boston  and  became  known  as  concert- 
pianist,  in  1893-96  studied  in  Vienna,  and 
since  1897  has  been  player  and  composer  in 
New  York.     See  art. 

Lilienthal,  Abraham  Wolf  (b.  New  York, 
1859),  studied  in  New  York,  from  about  1880 
was  violinist  under  Damrosch  and  Thomas, 
in  1891-93  played  viola  in  the  New  York 
String  Quartet,  and  has  taught  composition 
as  well  as  string-instruments.  He  has  written 
a  violin-sonata  (1911),  a  trio,  two  quartets,  a 
quintet,  a  sextet,  dances  and  transcriptions 
for  orchestra,  and  songs. 

Listemann,  Paul  (b.  Boston,  1871),  son  of 
Bernhard  Listemann  (see  sec.  5),  highly 
trained  as  a  violinist,  from  1888  toured  with 
his  father  and  uncle,  in  1890-95  studied  at 
Leipzig  and  Berlin,  in  1895-97  was  concertmas- 
ter  at  Pittsburgh  and  New  York,  then  toured 
with  the  Redpath  Concert  Company,  and  since 
1903  has  taught  in  New  York  and  played  at 
the  Metropolitan  Opera  House. 

Locke,  Flora  Elbertine,  n6e  Huie  (b.  Wilson, 
N.  Y.,  1866),  studied  at  Boston,  New  York 
and  Leipzig,  has  taught  in  Buffalo  since  be- 
fore 1890,  from  1904  devoting  herself  to  per- 
fecting methods  for  teaching  children,  and 
publishing  The  Foundation  of  Music  in  Rhymes 
and  Songs,  1908,  '16. 

*Loeffler,  Charles  Martin  Tornov  (b.  Alsace, 
1861),  came  as  an  experienced  violinist  to  the 
Boston  Symphony  Orchestra  in  1883,  and 
after  twenty  years'  service  devoted  himself  to 
composition.     See  Vol.  ii.  763,  and  art. 

*Lorenz,  Julius  (b.  Hanover,  1862),  came 
as  a  visiting  pianist  in  1887-88  with  Senkrah, 
in  1895-1911  was  conductor  of  the  Arion 
Society,  New  York,  and  other  societies,  and 
then  returned  to  Glogau,  Silesia.  For  works, 
see  Baker,  Diet,  of  Musicians,  p.  550. 

Lucas,  Clarence  (b.  Niagara,  Ont.,  1866), 
trained  at  Montreal  and  Paris,  from  1889 
taught  theory  at  Toronto  and  was  conductor 
also  at  Hamilton,  from  1891  was  in  the  Utica 
Conservatory,  and  since  1893  has  lived  in 
London  as  composer,  editor  and  critic,  also 
in  New  York.     See  Vol.  ii.  776,  and  art. 

Luckstone,  Isidore  (b.  Baltimore,  1861), 
early  associated  as  musician  with  Jefferson  the 
actor,  in  1883-84  was  accompanist  for  Urso, 
in  1884-91  for  Remenyi  on  his  world-tour,  then 
with  other  artists  till  1897,  when  he  settled 
in  New  York. 

*Lund,  John  Reinhold  (b.  Hamburg,  1859), 
in  1884  came  as  assistant-conductor  to  Dam- 
rosch, continuing  with  the  German  Opera 
Company,  from  1887  led  the  Buffalo  Orchestra 
and  Orpheus  Society,  from  1903  toured  as 
conductor  of  Herbert's  operas,  and  since  1914 
has  been  in  Buffalo  again.     See  art. 

Lussan,  Zelie  de  [Mme.  Fronani]  (b.  New 
York,   1863),  trained  as  an  operatic  soprano 


by  her  mother,  was  heard  in  concert  in  1879, 
from  1885  was  with  the  Boston  Ideal  Opera 
Company,  from  1889  with  the  Carl  Rosa 
Company,  in  1894^95  at  the  Metropolitan 
Opera  House  (also  in  1900-01),  from  1895  was 
popular  at  London,  Paris  and  Madrid,  but  re- 
tired after  her  marriage  in  1907. 

Lynes,  Frank  (Cambridge,  Mass.,  1858- 
1913),  trained  in  Boston  and  Leipzig,  from 
1885  was  organist  in  Boston.  He  composed 
chamber-music,  piano-pieces,  part-songs  and 
songs. 

*Maas,  Louis  Philipp  Otto  (Hesse,  1852- 
1889,  Boston),  having  taught  since  1875  at  the 
Leipzig  Conservatory,  from  1880  was  pianist, 
teacher  and  composer  in  Boston.     See  art. 

MacDowell,  Edward  Alexander  (New  York, 
1861-1908,  New  York),  studied  in  New  York, 
Paris,  Wiesbaden  and  Frankfort,  from  1882 
taught  at  Wiesbaden,  from  1888  lived  in 
Boston  as  concert-pianist  and  gifted  composer, 
from  1896  was  professor  at  Columbia  Univer- 
sity, after  1902  suffered  from  ill-health,  retir- 
ing in  1904.     See  Vol.  iii.  4-6,  and  art. 

*Macfarlane,  William  Charles  (b.  England, 
1870),  trained  in  New  York,  from  1885  was 
organist  there,  in  1912-19  municipal  organist 
at  Portland,  and  now  in  New  York,     See  art. 

*Mahr,  Emil  (Hesse,  1851-1914,  Boston), 
who  had  been  violinist  at  Bayreuth  and  under 
Richter  and  Henschel  in  London,  from  1887 
was  a  valued  instructor  at  the  New  England 
Conservatory  in  Boston. 

Manchester,  Arthur  Livingston  (b.  Bass 
River,  N.  J.,  1862),  educated  in  Philadelphia, 
began  organ-playing  in  1875,  from  1882  taught 
in  schools  at  Beaver,  Pa.,  Clarion,  Pa.,  and 
from  1886  in  Abingdon,  Va.,  from  1893  was 
editor  of  '  The  Etude '  and  from  1896  of 
'  The  Musician,'  from  1904  dean  of  music  at 
Converse  College  in  South  Carolina,  from  1913 
at  Southwestern  University  in  Texas,  and  since 
1918  at  Hardin  College  in  Missouri.     See  art. 

*Mannes,  David  (b.  New  York,  1866), 
trained  in  New  York,  Berlin  and  Brussels, 
early  played  in  New  York  in  theater-or- 
chestras, from  1891  was  in  the  Symphony  So- 
ciety, becoming  concertmaster  in  1898,  and 
since  1902  has  led  the  Symphony  Club  and 
taught  in  the  Music  School  Settlement  and 
other  schools.  See  art.  His  wife,  Clara 
Mannes,  nee  Damrosch  (b.  Silesia,  1869), 
daughter  of  Leopold  Damrosch  (see  sec.  6),  is 
an  accomplished  pianist,  has  taught  since  1889, 
and  has  joined  him  since  1898  in  recitals. 

Marcosson,  Sol  (b.  Lotiisville,  1869),  trained 
mostly  in  Berlin,  appeared  as  boy-violinist  in 
1877,|toured  extensively  abroad  and  in  Amer- 
ica, from  1892  was  first  violin  in  the  Men- 
delssohn Quintette  Club  of  Boston,  from  1893 
in  the  Philharmonic  Club  of  New  York,  from 
1895  concertmaster  in  the  Cleveland  Sym- 
phony Orchestra,  from  1896  in  the  Chicago 
Orchestra,  has  taught  much  at  Chautauqua 
and  Lake  Erie  College,  and  now  conducts  a 
music-school  in  Cleveland, 


7:  1880-1890] 


CHRONOLOGICAL  REGISTER 


61 


*Margulies,  Adele  (b.  Austria,  1863),  made 
her  d§but  as  pianist  in  1881  at  New  York, 
since  1887  has  been  teacher  at  the  National 
Conservatory,  in  1890-92  started  a  Trio, 
which  was  reorganized  in  1904  and  has  become 
famous.     See  art. 

Mason,  Henry  Lowell  (b.  Boston,  1864),  son 
of  Henry  Mason  (see  sec.  4),  entered  the 
employ  of  Mason  &  Hamlin,  Boston,  in  1888, 
becoming  head  of  the  firm  in  1906.  Since 
1915  he  has  been  president  of  the  CeciHa 
Society.  He  has  written  The  Modern  Artistic 
Pianoforte,  1901,  The  History  and  Development 
of  the  American  Cabinet  Organ,  1901,  and  Opera- 
Stories,  1911,  and  is  preparing  an  authoritative 
biography  of  his  grandfather,  Lowell  Mason. 

*Mattioli,  Lino  (b.  Italy,  1853),  came  to  New 
York  in  1884  as  'cellist,  and  since  1885  has 
been  singing-teacher  at  the  Cincinnati  College 
of  Music.  He  has  written  for  piano,  'cello 
and  voice. 

Maxson,  Frederick  (b.  Beverly,  N.  J.,  1862), 
trained  in  Philadelphia  and  Paris,  since  1884 
has  been  organist  in  Philadelphia,  teaching  since 
1906  at  the  Leefson-Hille  Conservatory  and 
also  appearing  in  recital.     See  art. 

*Meltzer,  Charles  Henry  (b.  England,  1852), 
since  1888  has  been  critic,  librettist  and  trans- 
lator of  opera-texts  in  New  York.     See  art. 

Miller,  Dayton  Clarence  (b.  Strongsville, 
O.,  1866),  since  1890  professor  of  physics  at 
the  Case  School  of  Applied  Science,  Cleveland, 
has  published  Boehm  on  the  Flute  and  Flute- 
Playing,  1908,  and  The  Science  of  Musical 
Sounds,  1916,  besides  many  articles.  He  has 
much  extended  the  science  of  musical  acoustics. 

Miller,  Frank  E.  (b.  Hartford,  Conn.,  1859), 
graduated  from  Trinity  College  in  1881  and 
was  trained  as  a  physician,  becoming  known 
as  a  specialist  in  laryngology.     See  art. 

*Mohr,  Hermann  (near  Hamburg,  1830- 
1896,  Philadelphia),  who  had  taught  in  Berlin 
since  1850,  from  1886  was  in  the  Philadelphia 
Musical  Academy.  He  wrote  the  cantata 
'  Bergmannsgruss,'   male   choruses  and  songs. 

MoUenhauer,  Louis  (b.  Brooklyn,  1863), 
son  of  Heinrich  MoUenhauer  (see  sec.  4),  was 
trained  as  violinist  by  his  uncle,  toured  for 
some  years  in  quintet-parties,  in  1889  suc- 
ceeded his  father  in  his  Brooklyn  school,  and 
since  1891  has  been  head  of  his  own  school. 

*Monestel,  Alexander  (b.  Costa  Rica,  1865), 
studied  at  Brussels,  from  1884  was  organist 
at  the  Costa  Rica  Cathedral  and  professor  in 
the  Seminary,  from  1902  organist  in  Brussels, 
and  since  1909  organist  in  Brooklyn.  He  has 
written  fourteen  masses,  an  oratorio,  '  The 
Seven  Last  Words,'  and  instrumental  music. 

Moore,  Homer,  from  1887  was  a  singer  in 
opera  and  oratorio  in  New  York.  In  recent 
years  he  has  been  singer,  teacher  and  critic  for 
the  '  Republic '  in  St.  Louis,  where  his  opera 
'  Louis  XIV  '  was  given  in  1917.  Other  operas 
are  "  The  Fall  of  Rome '  and  the  trilogy  (text 
and  music)  '  The  New  World,'  '  The  Pilgrims,' 
'  The  Puritans.' 


♦Morgan,  Tali  Esen  (b.  Wales,  1858),  came 
to  Scranton,  Pa.,  in  1876  and  was  engaged  for 
some  years  in  journalism,  from  1887  took  up 
festival-work  with  Walter  Damrosch  and 
Seidl,  first  in  New  York  and  soon  at  Ocean 
Grove,  N.  J.,  where  he  has  conducted  summer 
gatherings  of  singers  and  organists. 

Morrison,  Charles  Walthall  (b.  Covington, 
Ky.,  1856),  trained  at  Oberlin,  Leipzig  and 
Berlin,  since  1880  has  been  in  the  faculty  of 
the  Oberlin  Conservatory,  in  1902  becoming 
its  efficient  director. 

Morse,  George  Francis  (b.  Brooklyn,  ?  ), 
educated  in  Brooklyn  and  New  York,  from  1887 
was  organist  at  Nyack,  N.  Y.,  and  in  1890- 
1915  in  Brooklyn.  He  has  written  ensemble- 
works  for  organ  and  other  instruments. 

Morsell,  Herndon  (b.  Alexandria,  Va., 
1858),  trained  in  Washington,  Milan  and 
Florence,  early  appeared  as  concert-  and  oper- 
atic tenor,  and  for  many  years  has  been  singer 
and  choral  conductor  in  Washington. 

*Musin,  Ovide  (b.  Belgium,  1854),  notable 
as  violinist  since  1870,  came  to  New  York  in 
1883  and  toured  extensively  until  1892,  from 
1897  was  located  at  Li^ge,  but  visited  New 
York  steadily  until  1908,  when  he  established 
a  school  there.  See  Vol.  iii.  342,  and  art.  His 
wife,  nee  Annie  Louise  Hodges  (b.  1856),  a 
competent  soprano,  has  joined  him  in  tours. 

•^Neupert,  Edmund  (Norway,  1842-1888, 
New  York) ,  well  known  as  pianist  and  teacher 
at  Berlin,  Copenhagen  and  Moscow,  from  1882 
was  prominent  in  New  York.     See  art. 

Nevada,  Emma  [real  name  Wixom]  (b.  near 
Nevada  City,  Cal.,  1862),  studied  for  the  stage 
in  Vienna,  from  1880  won  European  fame  as  a 
soprano,  appeared  in  New  York  from  1884, 
and  after  some  years  settled  in  Paris.  See 
Vol.  iii.  365,  and  art. 

Nevin,  Ethelbert  Woodbridge  (Edgeworth, 
Pa.,  1802-1901,  New  Haven,  Conn.),  studied 
at  Pittsburgh,  New  York,  Boston,  Dresden 
and  Berlin,  spent  a  short  life  at  various  places, 
devoting  himself  to  composing  songs  of  un- 
usual poetic  quality.  See  Vol.  iii.  366,  and  art. 
His  older  relative,  George  Balch  Nevin  (b. 
Shippensburg,  Pa.,  1859) ,  is  also  a  song-com- 
poser. 

*Nikisch,  Artur  (b.  Hungary,  1855),  famous 
as  violinist  and  conductor,  in  1889-93  was 
leader  of  the  Boston  Symphony  Orchestra,  and 
in  1912  returned  with  the  London  Symphony 
Orchestra.    See  Vol.  iii.  379-80,  and  art. 

Nikita  [Louisa  Margaret  Nicholson]  (b. 
Philadelphia,  1872),  after  early  training  in 
Washington,  sang  in  a  traveling  opera-troupe, 
became  a  facile  coloratura-soprano,  studied 
in  Paris,  won  renown  in  Germany,  and  in  1894 
became  a  leading  singer  at  the  Opera  at  Paris. 

Norris,  Homer  Albert  (Wayne,  Me.,  1860- 
1920,  New  York) ,  studied  at  Boston  and  Paris, 
from  before  1890  was  organist  at  Lewiston  and 
Portland,  Me.,  from  1892  at  Boston,  and  in 
1904-13  at  St.  George's,  New  York,  becoming 
known  as  composer  and  author.     See  art. 


62 


CHRONOLOGICAL  REGISTER 


[7:  1880-1890 


Noyes,  Edward  Hibbard  (b.  London,  Ont., 
1867),  studied  as  pianist  in  Chicago,  Berlin 
and  Vienna,  in  1885-87  was  organist  in  and 
near  Boston,  in  1890-95  toured  in  Europe,  and 
since  1895  has  been  an  efficient  teacher  in 
Boston  and  Hartford,  witli  some  ensemble- 
playing.     See  art. 

O'Brion,  Mary  Eliza  (b.  Limerick,  Me., 
1859),  highly  trained  as  a  pianist  in  Portland, 
Florence,  Frankfort  and  Vienna,  from  1883 
for  several  years  appeared  in  Boston  and  else- 
where with  success,  but  finally  devoted  her- 
self to  teaching. 

Oesterle,  Otto  (St.  Louis,  1861-1894,  Darien, 
Conn.),  from  about  1880  was  an  accomplished 
flutist  in  leading  New  York  orchestras,  also 
teaching  in  the  National  Conservatory. 

Orth,  Lizette  E.,  n6e  Blood  (d.  1913,  Boston), 
from  1883  wife  of  John  Orth  (see  art.),  wrote 
piano-pieces,  songs,  operettas,  etc.,  for  children. 

O'Shea,  John  Augustine  (b.  Milford,  Mass., 
1864),  trained  in  Boston,  since  about  1887  has 
been  concert-organist  there  and  lately  also 
supervisor  in  the  public  schools.     See  art. 

Page,  Nathaniel  Clifford  (b.  San  Francisco, 
1866),  brought  out  his  first  opera  in  1889,  and, 
besides  much  composition,  since  1905  has  been 
in  editorial  work  in  Boston  and  New  York. 
See  art. 

Parker,  George  Albert  (b.  Kewanee,  111., 
1856),  studied  at  Chicago,  Stuttgart,  Berlin 
and  Paris,  since  1882  has  taught  in  the  School 
of  Music  at  Syracuse  University,  becoming  its 
head  in  1888  and  Dean  of  Fine  Arts  in  1906. 
He  is  an  accomplished  pianist  and  organist. 
Mus.D.  of  Syracuse  University  in  1893. 

Parker,  Horatio  William  (b.  Auburndale, 
Mass.,  1863-1919,  Cedarhurst,  N.  Y.),  trained 
in  Boston  and  Munich,  from  1885  taught  at 
Garden  City,  N.  Y.,  from  1888  was  organist 
at  New  York,  in  1893-1901  at  Trinity  Church, 
Boston,  and  from  1894  was  head  of  the  Yale 
School  of  Music.     See  Vol.  iii.  622-3,  and  art. 

Parkhurst,  Howard  Elmore  (Ashland,  Mass., 
1848-1916,  Lavallette,  N.  J.),  for  many  years 
organist  in  New  York,  published  a  System  of 
Harmony,  1908,  an  organ-method,  1911,  The 
Church  Organist,  1913,  The  Beginnings  of  the 
World's  Music,  1914,  and  Rambles  in  Music- 
Land,  1914,  besides  books  on  birds  and  plants. 
He  also  composed  somewhat  in  large  forms. 

Pasmore,  Henry  Bickford  (b.  Jackson,  Wis., 
1857),  studied  in  San  Francisco,  Leipzig  and 
London,  since  1885  has  been  organist,  teacher 
and  composer  in  San  Francisco.     See  art. 

Perry,  Edward  Baxter  (b.  Haverhill,  Mass., 
1855),  blind  from  infancy,  studied  in  Boston 
and  in  Germany,  in  1881-83  taught  in  the 
Oberlin  Conservatory,  and  since  then  has 
devoted  himself  mostly  to  giving  piano-recitals 
in  all  parts  of  the  country.     See  art. 

Porter,  Frank  Addison  (b.  Dixmont,  Me., 
1859),  trained  at  Boston  and  Leipzig,  since 
1884  has  been  piano-teacher  at  the  New  Eng- 
land Conservatory  and  since  1892  also  director 
of  normal  work  in  piano.     He  haa  published 


instruction-books  and  composed  a  sonata  and 
other  piano-music. 

Powell,  Maud  [Mrs.  H.  Godfrey  Turner] 
(Peru,  111.,  186S-1920,  Uniontown,  Pa.),  having 
studied  at  Chicago,  Leipzig,  Berlin  and  Paris, 
from  1885  was  universally  known  as  a  violinist 
of  the  first  rank.     See  Vol.  iii.  802,  and  art. 

Pratt,  John  Harraden  (b.  Freeport,  Me., 
1848),  trained  in  Portland,  Oakland  and 
Leipzig,  has  been  organist,  teacher  and  com- 
poser in  or  about  San  Francisco  since  about 
1885.     See  art. 

*Preyer,  Carl  Adolph  (b.  Baden,  1863), 
came  to  America  in  1884,  in  1889-91  taught  at 
Baker  University  in  Kansas,  and  since  1893  has 
been  professor  at  the  University  of  Kansas, 
becoming  in  1915  associate  dean  of  the  School 
of  Fine  Arts.     See  art. 

*Protheroe,  Daniel  (b.  Wales,  1866),  from 
1886  conducted  a  Welsh  choral  society  at 
Scranton,  Pa.,  from  1894  was  in  Milwaukee  aa 
baritone  and  teacher,  and  since  1904  has  also 
been  conductor  in  Chicago.     See  art. 

Randolph,  Harold  (b.  Richmond,  Va.,  1861), 
studied  at  Baltimore,  from  1885  became  promi- 
nent there  as  organist  and  notable  concert- 
pianist,  and  since  1898  has  been  head  of  the 
Peabody  Conservatory.     See  art. 

Reuss,  Eduard  (New  York,  1851-1911, 
Saxony),  studied  at  Gottingen,  Weimar  and 
Paris,  from  1880  taught  at  Karlsruhe,  from 
1896  at  Wiesbaden  (head  of  the  Conservatory 
from  1899),  and  from  1902  was  professor  at 
the  Dresden  Conservatory.  He  visited  Amer- 
ica in  1902-03  with  his  wife,  who  is  a  noted 
operatic  singer.  He  published  a  notable 
biography  of  Liszt  in  1898  and  a  work  on 
Liszt's  songs  in   1906,   besides  many  articles. 

Rivarde,  Serge  Achille  (b.  New  York,  1865), 
studied  at  New  York  and  Paris,  in  1881-84 
appeared  as  violinist  in  New  York,  in  1886-91 
was  concertmaster  under  Lamoureux  at  Paris, 
and  since  1899  has  taught  in  the  London 
Royal  College.     See  Vol.  iv.  110. 

Rogers,  James  Hotchkiss  (b.  Fair  Haven, 
Conn.,  1857),  studied  in  Chicago,  Berlin  and 
Paris,  began  teaching  in  1882  at  Burlington, 
la.,  and  since  1883  has  been  organist  and 
composer  at  Cleveland.     See  art. 

*Rosenfeld,  Maurice  Bernard  (b.  Austria, 
1867),  came  to  America  aa  a  boy,  studied  at 
Chicago,  from  1888  taught  piano  there,  since 
1907  has  been  critic  and  editor,  and  since  1916 
head  of  his  own  school.     See  art. 

*Rotoli,  Augusto  (Italy,  1847-1904,  Boston), 
from  1885  taught  at  the  New  England  Con- 
servatory, Boston.  While  maestro  in  Italy 
he  wrote  a  mass  and  a  psalm  for  the  funeral 
of  Victor  Emmanuel  in   1878. 

*Ruifrok,  Henri  WUlem  Johan  (b.  Holland, 
1862),  from  1889  was  music-director  at 
Valparaiso  University  in  Indiana,  from  1892 
at  the  Gottschalk  Lyric  School,  Chicago,  from 
1895  at  the  Musical  College,  Des  Moines, 
from  1904  head  of  his  own  school  there,  and 
since  1915  professor  at  Drake  University. 


7:  1880-1890] 


CHRONOLOGICAL  REGISTER 


63 


Russell,  Ella  [Countess  di  Rhigini]  (b. 
Cleveland,  1864),  studied  at  Paris  and  Milan, 
and  since  1882  has  been  a  celebrated  operatic 
soprano  on  the  Continent  and  especially  in 
England.     See  art. 

Russell,  Lillian  [Helen  Louise  Leonard, 
now  Mrs.  Alexander  P.  Moore]  (b.  Clinton, 
la.,  1861),  educated  in  Chicago,  from  about 
1880  was  long  a  favorite  stage-soprano  in 
light  opera  and  vaudeville. 

Saenger,  Gustav  (b.  New  York,  1865),  from 
about  1885  violinist  and  theater-conductor,  has 
since  1897  been  editor  for  Carl  Fischer.    See  art. 

Saenger,  Oscar  (b.  Brooklyn,  1868)  trained 
in  New  York,  has  taught  singing  there  since 
1889,  and  was  for  a  time  also  an  effective 
stage-baritone.     See  art. 

Sanderson,  Sibyl  (Sacramento,  Cal.,  1S65- 
1903,  France),  trained  as  an  operatic  soprano 
at  San  Francisco  and  Paris,  was  from  1888 
noted  at  Paris,  chiefly  in  connection  with 
Massenet's  works,  appearing  in  America  in 
1895  and  '98.     See  art. 

*Santelmann,  William  Henry  (b.  Hanover, 
1863),  trained  at  Leipzig,  from  1887  played 
in  the  U.  S.  Marine  Band,  from  1895  con- 
ducted a  theater-orchestra,  and  since  1898 
has  led  the  Marine  Band.     See  art. 

*Sapio,  Romualdo  (b.  Sicily,  1858),  from 
before  1890  was  concert-conductor  for  Patti, 
Albani  and  Nordica,  from  1892  taught  singing 
at  the  National  Conservatory,  New  York,  and 
has  been  otherwise  active. 

*Scheve,  Edward  Benjamin  (b.  Westphalia, 
1865),  from  1888  organist  and  teacher  at 
Rochester,  from  1892  was  concert-organist 
and  head  of  his  own  school  at  Chicago,  and 
since  1906  professor  at  Grinnell  College  in 
Iowa.     See  art. 

*Schiller,  Madeline  [Mrs.  Marcus  E.  Ben- 
nett] (England,  1850?-1911,  New  York), 
after  success  as  concert-pianist  in  England 
and  Australia,  lived  for  some  years  in  Boston, 
then  toured  abroad,  and  after  1895  was  a 
prominent  teacher  in  New  York. 

Schirmer,  Gustave  (New  York,  1864-1907, 
Boston),  and  Schirmer,  Rudolph  Ernest  (New 
York,  1859-1919,  Santa  Barbara,  Cal.),  sons 
of  Gustav  Schirmer  (see  sec.  4),  became 
partners  in  their  father's  publishing-business 
in  New  York  in  1885,  making  it  one  of  the 
K,  great  music-houses  of  the  world.     See  art. 

Ikl  *Schlesinger,  Sebastian  Benson  (Hamburg, 

«  1837-1917,  France),  studied  in  Boston,  where 

later  for  years  he  was  German  Consul,  and, 
though  assuming  to  be  but  an  amateur,  com- 
posed many  graceful  songs  and  piano-pieces. 

*Schneider,  Hans  (b.  Posen,  1863),  came  to 
Providence  in  1887  as  choral  and  orchestral 
conductor,  establishing  a  piano-school  in  1904, 
which  he  still  conducts.  He  has  specialized 
in  the  psychology  of  piano-playing,  writing 
many  articles  for  periodicals. 

Schoen,  Isaac  Leopold  (b.  St.  Louis,  1858), 
trained  at  St.  Louis,  New  York  and  Berlin,  since 
1887  has  been  prominent  as  violinist   at   St. 


Louis,  in  orchestral  and  chamber-organizations, 
and  now  teaches  in  the  Kroeger  School  of  Music. 

*Schradieck,  Henry  (Hamburg,  1846-1918, 
New  York),  in  1883-89  was  violin-teacher  at 
the  Cincinnati  College  of  Music,  from  1898 
taught  in  Philadelphia  at  the  Broad  Street 
Conservatory,  and  from  1912  was  at  the  Insti- 
tute of  Applied  Music  in  New  York.  See  Vol. 
iv.  274,  and  art. 

*Schuecker,  Heinrich  (Austria,  1867-1913, 
Boston),  in  1885  came  as  harpist  in  the  Boston 
Symphony  Orchestra  and  teacher  at  the  New 
England  Conservatory.  In  1893  he  formed  a 
Trio  (violin,  'cello  and  harp)  with  Jacques 
Hoffmann  and  Karl  Barth. 

*Schulz,  Leo  (b.  Posen,  1865),  a  superior 
'cellist,  from  1889  in  the  Boston  Symphony 
Orchestra  and  the  New  England  Conservatory, 
since  1890  has  been  in  the  New  York  Phil- 
harmonic Society,  and  in  1904-15  in  the 
Margulies  Trio.     See  art. 

Sealy,  Frank  Linwood  (b.  Madison,  N.  J., 
1858),  organist  and  conductor  for  many  years 
at  Newark,  N.  J.,  has  also  been  efficient  as 
organist  for  the  New  York  Oratorio  Society. 

*Seeboeck,  William  Charles  Ernest  (Austria, 
1859-1907,  Chicago),  trained  as  pianist  at 
Vienna  and  Petrograd,  from  1881  was  player, 
teacher  and  composer  in  Chicago.     See  art. 

*Seidl,  Anton  (Hungary,  1850-1898,  New 
York),  the  eminent  Wagner  interpreter,  in 
1885-91  and  from  1895  was  conductor  at  the 
Metropolitan  Opera  House  in  New  York,  from 
1891  also  conductor  of  the  Philharmonic 
Society.     See  Vol.  iv.  408,  and  art. 

*Sembrich,  Marcella  [Praxede  Marcelline 
Kochanska]  (b.  Galicia,  1858),  an  operatic 
and  concert-singer  of  the  first  rank,  appeared 
in  New  York  in  1883-84,  and  in  1898-1909 
sang  at  the  Metropolitan  Opera  House.  See 
Vol.  iv.  409-10,  and  art. 

Senkrah  [Arma  Leoretta  Hoffmann,  n6e 
Harkness]  (New  York,  1864-1900,  Saxony), 
educated  at  Leipzig,  Brussels  and  Paris,  from 
1882  became  celebrated  as  a  vioHnist  on  the 
Continent. 

Shackley,  Frederick  iTewell  (b.  Laconia,  N. 
H.,  1868),  trained  in  Boston,  from  1885  was 
organist  at  Lewiston,  Me.,  and  since  1892  in 
Boston.  He  has  written  valuable  church- 
music  and  organ-pieces  and  transcriptions. 

Shepard,  Frank  Hartson  (Bethel,  Conn., 
1863-1913,  Orange,  N.  J.),  trained  in  Boston, 
from  1881  was  organist  at  various  places,  in 
1886-90  was  in  Leipzig  studying,  and  from 
1888  organist  at  the  English  Chapel,  and  in 
1891,  with  his  wife  Annie  Agnes  Shepard, 
nee  Boll  (b.  New  York,  1859),  established 
a  piano-school  at  Orange,  N.  J.,  which  she 
continues.  They  have  published  several  in- 
struction-books, of  which  the  most  noted  is 
Harmony  Simplified  (many  editions) . 

Sinsheimer,  Bernard  (b.  New  York,  1870), 
trained  as  violinist  at  Paris  and  Berlin,  from  1886 
appeared  as  soloist  in  New  York,  and  since  1902 
has  led  his  own  Quartet  with  notable  enterprise. 


64 


CHRONOLOGICAL  REGISTER 


[7:  1880-1890 


Smith,  Ella  May,  nee  Dunning  (b.  Uhricha- 
ville,  O.,  1860),  since  about  1880  has  been  active 
as  teacher,  organist  and  critic,  chiefly  in  Col- 
umbus, and  prominent  in  music-club  enter- 
prises. 

Smith,  Wilson  George  (b.  Elyria,  O.,  1855), 
studied  at  Cincinnati  and  Berlin,   and  since 

1882  has  been  a  prominent  teacher  and  com- 
poser at  Cleveland.     See  art. 

Spalding,  "Walter  Raymond  (b.  North- 
ampton, Mass.,  1865),  graduated  at  Harvard  in 
1887,  in  1887-91  was  instructor  in  languages 
at  St.  Mark's  School,  Southboro,  Mass.,  from 
1891  studied  in  Paris  and  Munich,  and  since 
1895  has  been  in  the  music-faculty  of  Harvard 
University.     See  art. 

*Spicker,  Max  (Prussia,  1858-1912,  New 
York),  from  1882  conducted  the  Beethoven 
Mannerchor  in  New  York,  from  1888  was  head 
of  the  Brooldyn  Conservatory,  and  from  1895 
taught  at  the  National  Conservatory  and  was 
reader  for  the  Schirmer  firm.     See  art. 

Stair,  Patty  (b.  Cleveland,  1869),  trained  in 
Cleveland,  since  1889  has  taught  in  the  Cleve- 
land Conservatory,  besides  able  work  as  or- 
ganist and  composer.     See  art. 

Stanton,  Edmund  C,  is  notable  as  the 
effective  manager  of  German  opera  at  the 
Metropolitan  Opera  House,  New  York,  in 
1885-91,  succeeding  Leopold  Damrosch. 

Sterling,  Winthrop  Smith  (b.  Cincinnati, 
1859),  was  educated  at  Cincinnati,  Leipzig 
and  London,  began  as  organist  in  London, 
later  in  Cincinnati,  from  1887  taught  in  the 
College  of  Music  there,  and  in  1903  founded 
the  Metropolitan  College.     See  art. 

*Sternberg,  Constantin  Ivanovitch,  Edler 
von  (b.  Russia,  1852),  an  experienced  pianist, 
conductor  and  composer,  from  1880  concertized 
in  America,  from  1886  taught  in  Atlanta,  and 
since  1890  has  been  head  of  his  own  school  in 
Philadelphia.     See  art. 

Stevenson,  Edward  Irenaeus  Prime  (b. 
Madison,  N.  J.,  1868),  from  1881  a  frequent 
writer  on  musical  subjects  in  '  The  Inde- 
pendent *  and  from  1895  also  in  '  Harper's 
Weekly.'  Among  his  numerous  books  on 
many  subjects  are  Some  Men,  and  Women,  and 
Music,  and  two  musical  novels. 

*Stevenson,  Frederick  (b.  England,  1845), 
for  many  years  singing-teacher  in  London,  in 

1883  was  organist  and  conductor  at  Denver, 
and  since  1894  has  been  organist,  conductor 
and  composer  in  California.     See  art. 

*Stewart,  Humphrey  John  (b.  England, 
1856),  from  1886  was  organist  in  San  Francisco, 
in  1901-02  at  Boston,  from  1903  again  at  San 
Francisco,  and  since  1915  at  San  Diego. 
See  art. 

Stocker,  Stella,  n6e  Prince  (b.  Jacksonville, 
111.,  1858),  graduated  from  the  University  of 
Michigan  in  1880,  was  trained  at  Jacksonville 
and  abroad,  after  teaching  in  the  Middle 
West,  has  devoted  herself  to  Indian  music, 
upon  which  she  has  lectured  widely,  and  to 
composition.     See  art. 


*Stoeving,  Carl  Heinrich  Paul  (b.  Saxony, 
1861),  toured  in  America  as  concert-violinist 
in  1884  and  1892,  from  1898  was  professor  at 
the  Guildhall  School  in  London,  and  since  1914 
has  taught  in  New  York  and  New  Haven. 
See  art. 

Surette,  Thomas  Whitney  (b.  Concord, 
Mass.,  1862),  trained  in  Boston,  from  1883 
was  organist  at  Concord,  in  189-3-94  taught 
at  Pottstown,  Pa.,  in  1895-96  was  organist 
in  Baltimore,  and  since  1895  has  been  lecturer 
on  musical  subjects,  as  well  as  composer  and 
author.     See  art. 

*Sutro,  Florence  Edith,  nee  CHnton  [Mrs. 
Theodore  Sutro]  (England,  1865-1906,  New 
York),  from  1888  known  as  pianist  and  song- 
composer,  from  1898  was  founder  of  the 
National  Federation  of  Musical  Clubs.  She 
published  Women  in  Music,  1899. 

*Svecenski,  Louis  (b.  Croatia,  1862),  was 
in  1885-1903  violinist  in  the  Boston  Symphony 
Orchestra,  in  1885-1917  violist  in  the  Kneisel 
Quartet,  and  is  now  teaching  in  New  York. 
He  has  published  viola-studies. 

Tapper,  Thomas  (b.  Canton,  Mass.,  1864), 
after  study  at  home  and  abroad,  since  before 
1890  has  been  a  forceful  teacher  and  writer 
upon  music-pedagogy,  from  1905  at  the 
Institute  of  Musical  Art  in  New  York.  See 
art.  His  wife,  *Bertha  Tapper,  n6e  Feiring 
(Norway,  1859-1915,  New  York),  studied  at 
Leipzig  and  Vienna,  came  to  America  in  1881, 
from  1889  was  piano-teacher  at  the  New  Eng- 
land Conservatory  in  Boston,  and  from  1905 
at  the  Institute  of  Musical  Art  in  New  York. 
She  published  piano-pieces  and  songs  and 
edited  many  of  Grieg's  piano-works. 

Thunder,  Henry  Gordon  (b.  Philadelphia, 
1865),  trained  in  Philadelphia,  since  1881  has 
been  a  prominent  organist  there,  also  since 
1897  conductor  of  the  Choral  Society  and  in 
1897-1900  of  his  own  Symphony  Orchestra. 
He  has  written  several  cantatas,  a  mass,  and 
is  at  work  upon  an  opera. 

Thurber,  Jeannette,  nee  Meyer,  wife  of  a 
prominent  New  York  merchant,  in  1885 
founded  the  National  Conservatory  there, 
which  has  had  a  notable  history  under  eminent 
directors.  In  1885  she  was  also  the  promoter 
of  the  American  Opera  Company. 

*Tirindelli,  Pier  Adolf o  (b.  Italy,  1858), 
since  about  1885  has  been  violin-teacher  at 
the  Cincinnati  Conservatory  and  for  thirty 
years  conductor  of  the  Conservatory  Orchestra. 
He  has  written  a  violin-concerto  and  other 
violin-works,  the  operas  '  Ath6naide '  and 
'  Blanc  et  Noir,'  cantatas,  etc. 

*Tonning,  Gerard  (b.  Norway,  1860),  from 
1887  was  conductor  at  Duluth,  Minn.,  and 
since  1905  has  lived  at  Seattle  as  composer. 
He  has  written  the  opera  '  Leif  Erikson  * 
(1910),  two  operettas  and  a  musical  panto- 
mime, a  piano-trio,  chamber-music,  piano- 
pieces  and  songs. 

Truette,  Everett  Ellsworth  (b.  Rockland, 
Mass.,    1861),    graduated   from    Boston    Uni- 


7:  1880-1890] 


CHRONOLOGICAL  REGISTER 


65 


versity  in  1883,  studied  in  Berlin,  Paris  and 
England,  since  1885  has  been  a  notable  organist 
in  Boston  and  vicinity,  from  1897  at  the  Eliot 
Church,  Newton,  besides  giving  recitals  else- 
where.    See  art. 

*Van  Broekhoven,  John  A.  (b.  Holland, 
1856),  in  1889-99  was  teacher  at  the  Cin- 
cinnati College  of  Music  and  conductor  of 
symphony-concerts,  played  viola  under 
Thomas  at  various  occasions,  and  since  1905 
has  lived  in  New  York  as  teacher.  He  has 
written  the  short  opera  '  A  Colonial  Wedding  ' 
(1905),  the  opera  '  Camaralzaman,'  a  '  Creole 
Suite,'  the  '  Columbia '  overture,  a  string- 
quartet,  etc.,  besides  The  Tone-Producing 
Functions  of  the  Vocal  Organs,  1905,  The  True 
Method  of  Tone-Production,  1908,  a  book  on 
Harmony,  etc. 

Van  der  Stucken,  Frank  Valentin  (b.  Fred- 
ericksburg, Tex.,  1858),  trained  at  Antwerp 
and  Leipzig,  after  travels,  work  at  Breslau 
and  further  study,  fron>  1884  was  conductor  in 
New  York,  from  1895  at  Cincinnati,  continuing 
at  intervals  though  residing  abroad  in  1908-17. 
See  Vol.  v.  217,  and  art. 

*Venth,  Carl  (b.  Rhine  Prov.,  1860),  in 
1880  came  as  violinist  to  New  York,  from 
1884  playing  at  the  Metropolitan  Opera  House, 
from  1888  directed  a  school  in  Brooklyn  and 
from  1889  led  the  Brooklyn  Symphony  Or- 
chestra, from  1907  was  conductor  of  the  St. 
Paul  Orchestra,  going  thence  in  1908  to 
similar  positions  in  Dallas  and  later  Fort 
Worth,  Tex.     See  art. 

*Vere,  Clementine  Duchene  de  [Mme. 
Sapio]  (b.  France,  ?  ),  from  about  1880  for 
nearly  twenty  years  was  a  favorite  operatic 
and  concert-soprano  in  New  York.     See  art. 

Vilim,  Joseph  Alois  (b.  Chicago,  1861), 
studied  at  Prague,  since  1884  has  been  violinist 
and  teacher  in  Chicago,  first  in  the  Musical 
College,  from  1887  in  the  American  Con- 
servatory, and  since  1899  as  head  of  his  own 
school.  He  has  also  been  active  in  establish- 
ing ensemble-groups.     See  art. 

Vogt,  Augustus  Stephen  (b.  Washington, 
Ont.,  1861),  trained  at  Boston  and  Leipzig, 
from  1888  taught  at  the  Toronto  College  of 
Music,  and  from  1892  at  the  Toronto  Con- 
servatory, becoming  its  head  in  1913.  From 
1888  he  was  also  organist  and  in  1894  founded 
the  famous  Mendelssohn  Choir,  which  ho 
conducted  until  1917.     See  art. 

Warren,  Richard  Henry  (b.  Albany,  1859), 
son  of  George  W.  Warren  (see  sec.  4)  and 
trained  by  him,  has  been  an  organist  in  New 
York  since  1880,  and  the  founder  in  1886  of 
the  Church  Choral  Society,  which  he  led  till 
1895  and  in  1903-07. 

Weld,  Arthur  Cyril  Gordon  (b.  Jamaica  Plain, 
Mass.,  1862),  trained  in  Dresden,  Berlin  and 
Munich,  became  known  as  orchestral  composer 
from  1885,  from  1890  was  critic  for  the  Boston 
'  Post.'  See  Champlin  and  Apthorp,  Cyclope- 
dia of  Music,  iii.  623,  and  art. 

Whelpley,  Benjamin  Lincoln  (b.  Eastport, 


Me.,  1864),  studied  in  Boston  and  Paris,  since 
1886  has  been  known  in  Boston  as  pianist  and 
organist.  He  has  written  an  orchestral  In- 
termezzo, Preludes  for  violin,  'cello  and  organ, 
songs,  piano-pieces,  choruses,  etc. 

White,  John  (West  Springfield,  Mass.,  1855- 
1902,  Hesse),  studied  at  Hartford  and  Berlin, 
from  1880  was  organist  in  New  York,  studied 
in  Munich,  in  1887-96  was  again  in  New  York, 
and  then  removed  to  Munich.     See  art. 

Whiting,  Arthur  Battelle  (b.  Cambridge, 
Mass.,  1861),  studied  in  Boston  and  Munich, 
was  concert-pianist  in  Boston  from  1880  and 
in  New  York  since  1895,  devoting  himself 
much  to  lecturing  and  to  bringing  out  18th- 
century  keyboard-music.     See  art. 

*Williams,  Alberto  (b.  Argentina,  1862), 
trained  at  Buenos  Aires  and  Paris,  since  1889 
has  been  conductor  of  symphony-concerts  at 
Buenos  Aires,  established  and  now  directs 
the  Conservatorio  there,  since  1903  with 
numerous  branches  in  all  parts  of  the  Republic. 
He  has  composed  several  symphonies  and  other 
orchestral  music,  many  piano-pieces,  etc., 
and  has  written  on  theory.     See  art. 

Wilson,  George  H.,  of  Boston,  from  1883  for 
ten  years  issued  a  useful  Musical  Year-Book 
of  the  United  States,  in  1893-94  with  C.  B. 
Cady. 

Wiske,  C.  Mortimer  (b.  Bennington,  Vt., 
1853),  after  study  at  Troy  and  early  work  as 
organist,  in  1882  became  Thomas'  assistant 
as  chorus-conductor  at  New  York,  was  later 
leader  of  the  Chorus  Society  there,  and  since 
1902  has  had  charge  of  festivals  at  Paterson 
and  Newark,  N.  J. 

*Wodell,  Frederick  William  (b.  England, 
1859),  since  before  1890  has  been  prominent, 
first  at  Rochester,  of  recent  years  at  Boston, 
as  baritone,  choral  conductor  and  composer. 
He  has  written  a  light  opera,  the  cantata 
'The  American  Flag'  (1915),  part-songs  and 
anthems.  Choir  and  Chorus  Conducting,  1908, 
and   How  to  Sing  by  Note,  1915.     See  art. 

WoUe,  John  Frederick  (b.  Bethlehem,  Pa., 
1863),  studied  at  Philadelphia  and  Munich, 
from  1881  was  organist  in  Philadelphia,  from 
1885  organist  at  Bethlehem,  from  1905  pro- 
fessor at  the  University  of  California,  and  since 
1911  has  been  at  Bethlehem  again,  conducting 
the  festivals  of  the  Bach  Choir.     See  art. 

Wood,  Mary,  nee  Knight  [now  Mrs.  Alfred 
B.  Mason]  (Easthampton,  Mass.,  1859),  edu- 
cated in  Boston  and  New  York,  has  long  been 
a  song-composer  of  distinction. 

*Wrightson,  Sydney  Lloyd  (b.  England, 
1869),  came  to  America  in  1889,  in  1904 
founded  the  College  of  Music  in  Washington, 
remaining  its  head  till  1914,  and  has  been 
choral  conductor  there.  As  singer  he  has 
appeared  with  many  orchestras. 

*Zach,  Max  WUhelm  (b.  Galicia,  1864), 
in  1886-1907  was  violist  in  the  Boston  Sym- 
phony Orchestra,  in  1887-97  member  of  the 
Adamowski  Quartet,  and  since  1907  has 
conducted  the  St.  Louis  Symphony  Orchestra. 


66 


CHRONOLOGICAL  REGISTER 


[8:  1890-1900 


Zech,  Frederick  (b.  Philadelphia,  1858), 
studied  in  San  Francisco  and  Berlin,  taught 
at  Berlin  from  1880,  and  since  1882  has  been 
piano-teacher  and  conductor  at  San  Francisco, 
and  a  prolific  composer. 

*ZiegIer,  Anna  Elizabeth,  n6e  Koelling 
(b.  Hamburg,  1867),  was  educated  in  New 
York,  early  became  known  as  pianist  and 
singer,  was  director  of  the  Berlin  Conservatory 
there  and  now  is  head  of  the  Ziegler  Insti- 
tute of  Normal  Singing. 

Zoellner,  Joseph  (b.  Brooklyn,  1862), 
trained  mostly  in  New  York  and  Dresden, 
from  1882  was  violinist  and  teacher  in  [Brook- 
lyn, from  1903  in  Stockton,  Cal.,  in  1907-12 
played  and  taught  in  Brussels,  there  forming 
with  two  sons  and  a  daughter  the  Zoellner 
Quartet,  which  since  1912  has  toured  the 
United  States.     In  this  he  plays  viola. 


8. 


The  Closing  Decade  of  the  19th 
Century 


Abott,  Bessie  Pickens  (Riverdale,  N.  Y., 
1878-1919,  New  York),  studied  in  New  York 
and  later  in  Paris,  from  1894  appeared  as 
soprano  in  light  opera,  and  from  1901  in  grand 
opera,  until  1906  in  Paris  and  then  in  the 
United  States,  besides  concert-tours  in  many 
countries.     In  1912  she  married  T.  W.  Story. 

Adams,  Suzanne  (b.  Cambridge,  Mass., 
1873),  was  trained  as  soprano  in  Paris,  from 
1894  appearing  in  opera  there,  from  1897  at 
Nice  and  since  1898  at  London.  She  sang  in 
New  York  in  1899  and  was  at  the  Metropolitan 
Opera  House  in  1902.     See  art. 

Aldrich,  Richard  (b.  Providence,  1863), 
graduated  from  Harvard  in  1885,  entered 
journalistic   work,    first   in    Providence,    from 

1889  in  Washington,  where  he  began  musical 
criticism.  Since  1891  he  has  been  critic  in 
New  York,  till  1902  on  the  '  Tribune  '  and 
then  on  the  '  Times.'     See  art. 

Aller,  George  Henry  (b.  Shiremanstown,  Pa., 
1871),  trained  as  singer  at  Doane  College  in 
Nebraska,  Chicago,  Berlin  and  Paris,  since 
1893  has  taught  in  Nebraska,  from  1914  as 
music-director  at  Doane  College,  developing 
notable  interest  in  vocal  music. 

*Anger,  Joseph  Humphrey  (England,  1862- 
1913,  Toronto),  after  experience  in  England, 
was  from  1893  theory-professor  at  the  To- 
ronto Conservatory,  notable  also  as  organist, 
conductor  and  author.     See  art. 

Armstrong,  "William  Dawson  (b.  Alton,  111., 
1868),  trained  in  St.  Louis  and  Chicago,  from 

1890  was  organist  at  Alton  and  in  1896-1908 
at  St.  Louis,  and  since  1908  has  been  head  of 
his  own  school  in  Alton.  He  has  written  the 
opera  '  The  Spectre  Bridegroom  '  (1899), 
an  orchestral  suite  and  an  overture,  vocal 
and  instrumental  pieces,  etc.  See  biography 
by  W.  F.  Norton,  1916. 

Arnold  [-Strothotte],  Maurice  (b.  St.  Louis, 
1865),  studied  at  Cincinnati,  Berlin,  Cologne 
and  Breslau,  taught  in  St.  Louis,  from   1894 


was  instructor  in  composition  in  the  National 
Conservatory  in  New  York,  where  he  still 
lives.  He  has  twice  gone  abroad  as  con- 
ductor or  performer.  For  list  of  works,  see 
Baker,  Diet,  of  Musicians,  p.  28,  and  Hughes, 
Contemporary  American  Composers,  pp.  135-9. 
Ashton,  Joseph  Nickerson  (b.  Salem,  Mass., 
1868),  graduated  from  Brown  University  in 
1891,  taught  there  from  1895  and  also  in 
Boston,  in  1898-1904  being  associate-professor 
in  the  University.  Since  1905  he  has  been 
organist  at  Brookline.     See  art. 

Atherton,  Percy  Lee  (b.  Boston,  1871), 
graduated  from  Harvard  in  1893,  studied  in 
Munich,  Berlin,  Rome  and  Paris,  has  been 
known  as  composer  since  1890,  at  first  of 
comic  operas,  later  of  orchestral  and  vocal 
works.     See  art. 

Avery,  Stanley  R.  (b.  Yonkers,  N.  Y.,  1879), 
trained  in  New  York  and  Berlin  as  organist, 
from  1896  worked  at  Yonkers  and  since  1910 
at  Minneapolis.     See  art. 

Baldwin,  Ralph  Lyman  (b.  Easthampton, 
Mass.,  1872),  musically  educated  in  Boston, 
from  about  1895  was  organist  in  Easthampton 
and  Northampton,  and  since  1904  in  Hart- 
ford, Conn.,  where  he  is  also  supervisor  and 
choral  conductor.     See  art. 

Baltzell,  "Winton  James  (b.  Shiremanstown, 
Pa.,  1864),  graduated  from  Lebanon  Valley 
College  in  1884,  studied  in  Philadelphia, 
Boston  and  London,  taught  in  Reading,  Pa., 
in  1897-99  and  1900-07  edited  'The  Etude,' 
in  1907-18  '  The  Musician,'  and  has  since 
been  in  literary  work  in  New  York.  See  art. 
Barbour,  Florence,  nee  Newell  (b.  Providence, 
1867),  gained  her  training  in  America,  and 
has  won  success  as  concert-pianist  and  com- 
poser, chiefly  of  piano-works  and  songs.  See  art. 
*Barford,  Vernon  West  (b.  England,  1876), 
came  as  organist  in  1895  to  Qu'Appelle,  Que., 
and  since  1900  has  been  organist  and  con- 
ductor at  Edmonton,  Alberta. 

Bartholomew,  Edward  Fry  (b.  Sunbury, 
Pa.,  1846),  trained  as  a  Lutheran  minister, 
professor  at  Augustana  College  since  1888, 
has  published  The  Relation  of  Psychology  to 
Music,  1899,  1903,  Rational  Musical  Pedagogy, 
1905,  and  many  magazine  articles,  and  edited 
The  Musical  Profession,  1905. 

Beach,  John  Parsons  (b.  Gloversville,  N. 
Y.,  1877),  studied  in  Boston  and  Minneapolis, 
taught  in  both  cities  and  from  1904  in  New 
Orleans,  went  abroad  in  1910  and  has  lived  in 
Paris  and  Italy  as  composer.     See  art. 

Beaton,  Isabella  (b.  Grinnell,  la.,  1870), 
after  study  at  Grinnell,  Berlin  and  Paris, 
since  1899  has  worked  at  Cleveland  as  pianist, 
composer  and  teacher,  first  at  the  Cleveland 
School  of  Music  and  from  1910  in  her  own 
school.     See  art. 

Benson,  Louis  FitzGerald  (b.  Philadelphia, 
1855),  both  lawyer  and  clergyman  by  pro- 
fession, since  1894  has  been  hymnal-editor 
for  the  Presbyterian  Church  and  has  become 
a  foremost  hymnologist.     His  chief  publication 


8:  1890-1900] 


CHRONOLOGICAL  REGISTER 


67 


as  editor  is  The  Hymnal,  1895,  1911,  and  as 
author  The  English  Hymn,  1915.  For  full 
list,  seo  Who's  Who  in  America. 

Bergquist,  John  Victor  (b.  St.  Peter,  Minn., 
1877),  studied  at  St.  Peter,  Minneapolis, 
Berlin  and  Paris,  from  1895  was  organist  in 
Lutheran  churches  in  Minnesota,  with  recitals 
in  Minneapolis  in  1903-12  and  elsewhere,  in 
1905-08  taught  at  Gustavus  Adolphus  College, 
and  since  1912  has  been  music-director  at 
Augustana  College,  Rock  Island,  111.  He  has 
written  the  oratorio  '  Golgotha '  (1906),  a 
Christmas  cantata,  a  Reformation  cantata 
(1917),  three  organ-sonatas,  etc. 

*Berwald,  William  Henry  (b.  Mecklenburg, 
1864),  since  1892  has  boon  professor  at  Syra- 
cuse University  and  active  as  conductor  and 
fertile  composer.     See  art. 

Bispham,  David  Scull  (b.  Philadelphia, 
1857),  a  singer  from  youth,  took  up  careful 
study  in  Milan  and  London  in  1886,  appearing 
as  operatic  baritone  from  1891  in  London  and 
from  1896  in  America.  Latterly  he  has  been 
heard  chiefly  in  concert.  See  Vol.  i.  333, 
and  art. 

Blass,  Robert  (b.  New  York,  1867),  studied 
in  New  York,  Leipzig  and  Frankfort,  made 
his  d6but  as  operatic  bass  at  Weimar  in  1895, 
Bang  in  Germany,  and  since  1900  mostly  at 
the  Metropolitan  Opera  House  in  New  York. 

Blauvelt,  Lillian  Evans  (b.  Brooklyn,  1874) , 
was  trained  as  operatic  soprano  at  New  York 
and  Paris,  making  her  debut  at  Brussels  in 
1893.  She  has  appeared  widely  in  both  Amer- 
ica and  Europe.     See  Vol.  i.  33S-9,  and  art. 

*Bochau,  Charles  Henry  (b.  Holstein,  1870), 
brought  to  America  as  a  boy,  studied  in  Balti- 
more, and  since  1897  has  taught  singing  in  the 
Peabody  Conservatory,  besides  work  as  con- 
ductor and  composer.     See  art. 

*Boeppler,  William  (b.  Germany,  1863), 
came  to  Milwaukee  in  1894,  started  the  Wis- 
consin Conservatory  in  1899  and  the  Symphony 
Orchestra  in  1902,  and  since  1904  has  also  been 
active  in  Chicago.     See  art. 

Bogert,  Walter  Lawrence  (b.  Flushing,  N. 
Y.,  1864),  graduated  from  Columbia  in  1888 
and  trained  as  a  lawyer,  was  also  broadly 
educated  in  music  in  New  York,  where  since 
1898  he  has  been  teacher,  lecturer,  conductor 
and  writer,  especially  on  vocal  art. 

Bollinger,  Samuel  (b.  Fort  Smith,  Ark., 
1871)  trained  mostly  at  Leipzig,  taught  in  the 
Conservatory  there  in  1893-95  and  was 
organist  of  the  American  Church,  from  1896 
was  at  Fort  Smith,  from  1898  in  San  Fran- 
cisco, and  since  1907  in  St.  Louis,  directing 
his  own  school.     See  art. 

*Borowski,  Felix  (b.  England,  1872),  son 
of  a  Polish  musician,  studied  extensively  in 
London  and  Cologne,  from  1892  taught  in 
Aberdeen  and  London,  in  1897  came  to  the 
Chicago  Musical  College  as  teacher  of  com- 
position, and  since  1916  has  been  president 
there.  He  is  distinguished  as  composer  and 
critic  as  well.     See  art. 


Bowen,  George  Oscar  (b.  Castle  Creek,  N. 
Y.,  1873),  from  about  1895  was  prominent 
as  music-supervisor  at  Stamford,  Conn., 
Northampton,  Mass.,  Homer  and  Yonkers, 
N.  Y.,  and  in  1917-20  was  Municipal  Director 
of  Music  in  Flint,  Mich.,  conducting  various 
enterprises  for  popular  musical  culture,  going 
thence  to  the  University  of  Michigan. 

Boyd,  Charles  N.  (b.  Pleasant  Unity,  Pa., 
1875),  since  1894  has  been  organist  in  Pitts- 
burgh, from  1903  also  instructor  at  the  Western 
Theological  Seminary,  and  from  1915  a  di- 
rector of  the  Pittsburgh  Musical  Institute. 
See  Baker,  Diet,  of  Musicians,  p.  1078. 

Breil,  Joseph  Carl  (b.  Pittsburgh,  1870), 
studied  in  Leipzig  and  Milan,  in  1891-92  was 
tenor  in  the  Juch  Opera  Company,  from  1892 
singer  at  St.  Paul's,  Pittsburgh,  from  1897 
theater-conductor  there  and  on  tour,  and  since 
1909  has  written  much  for  plays  and  especially 
photo-plays,  besides  comic  operas.  His  '  The 
Legend  '  was  produced  in  1919  at  the  Metro- 
poUtan  Opera  House. 

Brockway,  Howard  A.  (b.  Brooklyn,  1870), 
trained  at  Berlin,  from  1895  taught  in  New 
York,  from  1903  in  Baltimore,  and  since  1910 
again  in  New  York.  Besides  much  com- 
position, he  has  made  important  studies  of 
Kentucky  folk-tunes.     See  art. 

*Broome,  William  Edward  (b.  England, 
1868),  in  1893  came  to  America  as  conductor 
of  a  visiting  Welsh  chorus,  from  1894  was 
organist  in  Montreal,  and  since  1905  in 
Toronto,  where  he  is  also  conductor  of  the 
Oratorio  Society.     See  art. 

*Bruening,  Hans  (b.  Prussia,  1868),  after 
extended  tours  in  Europe  as  concert-pianist, 
in  1899  founded  the  Wisconsin  College  of 
Music  at  Milwaukee,  of  which  he  is  director. 

Buck,  Dudley,  Jr.  (b.  Hartford,  Conn., 
1869),  son  of  the  organist  (see  sec.  5),  studied 
singing  at  Florence,  Frankfort,  Paris  and 
London,  appearing  in  opera  and  concert  from 
1895  in  England  and  from  1899  in  America. 
Since  1902  he  has  taught  in  New  York. 

Bullard,  Frederick  Field  (Boston,  1864- 
1904,  Boston),  after  study  at  Munich,  from 
1892  was  teacher  and  popular  vocal  composer 
in  Boston.     See  art. 

Burrowes,  Katharine  (b.  Kingston,  Ont., 
?  ),  trained  in  Detroit  and  Berlin,  since 
1895  has  taught  in  Detroit,  at  the  Conserva- 
tory and  since  1903  in  her  own  Piano  School, 
specializing  in  work  for  children.     See  art. 

Butler,  Harold  Lancaster  (b.  Silver  City, 
Ida.,  1874),  studied  in  Chicago  and  Paris, 
from  1895  taught  singing  at  Valparaiso 
University  and  from  1900  was  director  of  the 
music-department  there,  from  1904  at  Syracuse 
University,  and  since  1915  has  been  dean  of 
Fine  Arts  in  the  University  of  Kansas. 

*Cadek,  Joseph  Ottokar  (b.  Bohemia,  1868), 
from  about  1890  appeared  as  violinist  in  the 
United  States,  and  since  1895  has  taught  in 
Chattanooga,  Tenn.,  where  he  established  a 
school  in  1904. 


68 


CHRONOLOGICAL  REGISTER 


[8:  1890-1900 


Carter,  Ernest  Trow  (b.  Orange,  N.  J.,  1866), 
trained  in  New  York  and  Berlin,  from  1892 
taught  in  Nordhoff,  Cal.,  in  1897-98  was 
organist  of  the  American  Church  in  Berlin, 
in  1899-1901  was  organist  and  lecturer  at 
Princeton  University,  and  has  since  been 
conductor  and  composer  in  New  York.  He 
has  written  the  opera  comique  '  The  Blonde 
Donna,'  a  symphonic  suite,  a  string-quartet, 
and  many  songs  and  anthems. 

*Caruso,  Enrico  (b.  Italy,  1873),  the  great 
operatic  tenor,  appeared  in  South  America  in 
1899-1903,  and  in  New  York  since  1903. 
See  Vol.  V.  622,  and  art. 

Clark,  Charles  William  (b.  Van  Wert,  O., 
1865),  trained  as  concert-baritone  in  Chicago 
and  London,  since  1897  has  been  widely  heard 
in  America  and  Europe,  besides  teaching  in 
the  Bush   Conservatoi-y,   Chicago. 

*Clemens,  Charles  Edwin  (b.  England, 
1858),  came  to  Cleveland  in  1896  as  organist, 
and  since  1899  has  been  lecturer  or  professor 
at  Western  Reserve  University.     See  art. 

Coerne,  Louis  Adolphe  (b.  Newark,  1870), 
studied  at  Harvard  and  in  Boston  and  Munich, 
from  1894  was  conductor  in  Buffalo,  from 
1897  in  Columbus,  in  1899-02  and  again  in 
1905-07  lived  in  Europe,  in  1903-04  was 
professor  at  Smith  College,  in  1907-09  music- 
director  in  Troy,  N.  Y.,  from  1900  professor 
at  Olivet  College  in  Michigan,  from  1910  at 
the  University  of  Wisconsin,  and  since  1915 
at  Connecticut  College.     See  art. 

Cole,  Rossetter  Gleason  (b.  Clyde,  Mich., 
1866),  graduated  from  the  University  of 
Michigan  in  1888,  studied  there  and  in  Berlin, 
from  1892  was  professor  at  Ripon  College, 
from  1894  at  Grinnell  College,  from  1907  at 
the  University  of  Wisconsin,  and  since  1909 
is  teacher  and  composer  in  Chicago.      See  art. 

Converse,  Frederick  Shepherd  (b.  Newton, 
Mass.,  1871),  graduated  from  Harvard  in  1893, 
was  trained  in  Boston  and  Munich,  from  1899 
taught  at  the  New  England  Conservatory 
and  at  Harvard  until  1907,  since  then  being 
engaged  upon  composition.     See  art. 

Cooke,  James  Francis  (b.  Bay  City,  Mich., 
1875),  studied  in  New  York  and  Wiirzburg, 
began  teaching  before  1890  in  New  York  and 
was  organist  and  choral  conductor  in  Brooklyn, 
engaged  in  much  literary  work,  and  since  1907 
has  been  editor  of  '  The  Etude  '  in  Philadel- 
phia, from  1917  also  president  of  the  Presser 
Foundation.     See  art. 

Coombs,  Charles  Whitney  (b.  Bucksport, 
Me.,  1859),  after  study  in  Stuttgart,  Dresden 
and  England,  being  in  1887-91  organist  of  the 
American  Church  at  Dresden,  since  1892  has 
been  organist  in  New  York.     See  art. 

Copp,  Evelyn  Ashton,  n6e  Fletcher  (b. 
Woodstock,  Ont.,  1872),  after  study  in  Canada, 
England,  Berlin  and  Paris,  began  teaching  in 
1894  in  Canada,  evolved  special  methods  of 
kindergarten  and  primary  instruction,  and 
since  1897  has  taught  in  Boston,  at  first  in  the 
New  England  Conservatory. 


Dana,  Lynn  Boardman  (b.  Middleport,  N. 
Y.,  1875),  son  of  William  H.  Dana  (see  sec. 
6),  since  1916  has  been  head  of  Dana's  Musical 
Institute  in  Warren,  O.  Since  1904  he  has 
also  taught  at  Chautauqua  and  directed  the 
annual  festivals  at  Lockport,  N.  Y.     See  art. 

DeLamarter,  Eric  (b.  Lansing,  Mich.,  1880), 
studied  in  Chicago  and  Paris,  from  about  1898 
was  organist  in  Chicago,  in  1904-05  taught  at 
Olivet  College,  in  1909-10  at  the  Chicago 
Musical  College,  since  1906  has  been  organist 
in  Chicago,  since  1908  music-critic,  and  since 
1911  choral  and  orchestral  conductor.     See  art. 

Demarest,  Clifford  (b.  Tenafly,  N.  J.,  1874), 
trained  in  or  near  New  York,  from  about  1895 
was  organist  at  Tenafly,  and  since  1900  in  New 
York.     See  art. 

*Dethier,  Gaston  Marie  (b.  Belgium,  1875), 
in  1894  came  to  New  York  as  organist  at  St. 
Francis  Xavier's,  and  since  1907  has  taught  at 
the  Institute  of  Musical  Art,  besides  concert- 
playing.     See  art. 

*Dippel,  Johann  Andreas  (b.  Hesse,  1866), 
the  operatic  tenor  and  impresario,  first  ap- 
peared in  New  York  in  1890-91,  toured  in 
1892,  from  1898  was  at  the  Metropolitan  Opera 
House,  becoming  in  1908  its  executive  head, 
from  1910  managed  the  Chicago-Philadelphia 
Opera  Company,  and  since  1913  has  directed 
his  own  company  in  light  opera.     See  art. 

Doenhoff,  Albert  von  (b.  Louisville,  1880), 
son  of  Helene  von  Doenhoff  (see  sec.  6),  studied 
at  Cincinnati  and  New  York,  in  1899-1907 
taught  at  the  National  Conservatory  in  New 
York,  and  since  1905  has  been  frequently  heard 
as  concert-pianist  there  and  elsewhere. 

Drake,  Earl  R.  (Aurora,  111.,  1865-1916, 
Chicago),  trained  aa  violinist  at  Chicago, 
Cincinnati  and  Berlin,  in  1893-97  taught  in 
the  Gottschalk  Lyric  School,  Chicago,  directed 
his  own  Quartet,  making  many  concert-tours, 
and  from  1900  conducted  his  own  school. 
He  wrote  the  operas  '  The  Blind  Girl  of 
Castel-Cuille  '  (1914)  and  '  The  Mite  and  the 
Mighty  '  (1915),  several  orchestral  and  many 
violin-pieces,  etc. 

*Dunkley,  Ferdinand  Luis  (b.  England, 
1869),  came  to  Albany,  N.  Y.,  in  1893  as 
teacher,  from  1899  was  in  Asheville,  N.  C, 
as  teacher  and  conductor,  from  1901  was 
organist  in  New  Orleans,  from  1909  in  Van- 
couver, and  since  1912  in  Seattle.     See  art. 

*Dvorak,  Antonin  (Bohemia,  1841-1904, 
Bohemia),  the  distinguished  composer,  spent 
the  years  1892-95  as  artistic  director  of  the 
National  Conservatory  in  New  York.  See 
Vol.  i.  755-9,  and  art. 

Dykema,  Peter  William  (b.  Grand  Rapids, 
Mich.,  1873),  graduated  (in  law)  from  the 
University  of  Michigan  in  1895,  combined 
musical  study  with  public-school  teaching  in 
Aurora,  111.,  Indianapolis  and  New  York  (from 
1901),  and  since  1913  has  been  professor  at  the 
University  of  Wisconsin.     See  art. 

Eames,  Henry  Purmort  (b.  Chicago,  1872), 
graduated     from     Cornell     College     (Iowa), 


8:  1890-1900] 


CHRONOLOGICAL  REGISTER 


69 


studied  in  Chicago,  from  1894  traveled  as 
accompanist  and  pianist  in  America  and 
abroad,  from  1898  taught  in  Lincoln,  Neb., 
in  1911-12  in  Omaha,  and  since  1912  at  the 
Cosmopolitan  School  in  Chicago.     See  art. 

Earhart,  WUl  (b.  Franklin,  O.,  1871),  after 
working  in  public-school  music  at  Franklin 
and  Greenville,  O.,  from  1900  was  supervisor 
at  Richmond,  Ind.,  and  since  1912  has  been 
music-superintendent  in  Pittsburgh.     See  art. 

*Ebann,  William  Benedict  (b.  Bremen, 
1873),  came  to  America  in  youth,  studied  at 
Cincinnati  and  Berlin,  from  1896  appeared  as 
'cellist  and  composer,  in  1897-98  taught  at  the 
Cincinnati  College  of  Music,  and  since  1898 
in  New  York,  from  1907  at  the  German  Con- 
servatory. For  list  of  works,  see  Who's  Who 
in  Music. 

*Elsenheimer,  Nicholas  J.  (b.  Hesse,  1866), 
in  1890  came  to  Cincinnati  as  teacher  in  the 
College  of  Music,  organist  and  concert-pianist, 
and  since  1907  has  taught  in  the  Cranberry 
Piano  School.  For  list  of  works,  see  Baker, 
Diet,  of  Musicians,  pp.  237-8. 

Elson,  Arthur  B.  (b.  Boston,  1873),  son  of 
Louis  C.  Elson  (see  sec.  6),  graduated  from 
Harvard  in  1895,  trained  there  and  in  Boston, 
besides  teaching  and  some  composition,  since 
1901  has  written  various  useful  books.     See  art. 

Ende,  Herwegh  von  (Milwaukee,  1877-1919, 
New  York),  son  of  Amelia  von  Ende  (see  sec. 
6),  studied  in  Chicago  and  Berlin,  began 
teaching  in  Chicago  in  1893,  appeared  widely 
as  violinist,  from  1903  taught  at  the  American 
Institute  of  Applied  Music  in  New  York,  and 
from  1910  directed  his  own  school  there.  He 
organized  the  Von  Ende  Quartet  in  1907 
(with  Modest  Altschuler),  and  was  one  of 
a  Trio  with  Rybner  and  Altschuler.  He 
married  the  daughter  of  Remenja,  the  Hun- 
garian violinist. 

*Enna,  Emil  (b.  Denmark,  1877),  nephew 
of  the  composer  August  Enna,  came  to 
America  in  1897,  has  toured  as  concert- 
pianist,  and  now  lives  in  Portland,  Ore.  He 
has  made  a  specialty  of  Scandinavian  music. 
He  has  composed  the  opera  '  The  Dawn  of  the 
West  '  (1915),  a  piano-sonata,  the  song-cycle 
'Legends  of  Seaside'   (1916),  etc. 

Erb,  John  Lawrence  (b.  near  Reading,  Pa., 
1877),  began  as  organist  in  1892-94  at  Potts- 
town,  Pa.,  studied  in  New  York,  where  he  was 
organist  and  teacher,  in  1905  became  director 
at  Wooster  University  in  Ohio,  and  since  1914 
has  been  at  the  University  of  Illinois.     See  art. 

Farwell,  Arthur  (b.  St.  Paul,  1872),  gradu- 
ated from  the  Institute  of  Technology,  Boston, 
studied  music  there  and  in  Paris,  from  1899 
taught  at  Cornell  University,  from  1901  carried 
on  the  Wa-Wan  Press,  made  studies  of  Indian 
music  in  the  Far  West,  and  since  1909  has 
worked  in  New  York.     See  art. 

Fay,  Charles  Norman  (b.  BurUngton,  Vt., 
1848),  from  1877  banker  and  capitalist  in 
Chicago,  in  1890  secured  the  guaranty  of 
$50,000   by    which    the    Chicago    Orchestral 


Association  attracted  Theodore  Thomas  to 
remove  from  New  York  to  Chicago. 

*Ferrata,  Giuseppe  (b.  Italy,  1865),  after 
experience  in  Italy  as  concert-pianist,  in  1892 
came  to  America,  teaching  first  at  Beaver 
College,  Beaver,  Pa.,  and  since  about  1910  at 
Newcomb  College,  New  Orleans.     See  art. 

Fischer,  Carlo  (b.  Washington,  1872), 
studied  in  Washington  and  Frankfort,  was 
'cellist  in  European  orchestras,  appeared  from 
1899  in  America  and  joined  the  Pittsburgh 
Orchestra,  from  1903  was  with  the  Cincinnati 
Orchestra,  and  since  1906  has  been  with  the 
Minneapolis  Orchestra  as  player,  assistant- 
manager  and  program-editor.  In  1906  he 
organized  the  Minneapolis  String  Quartet. 

Fletcher,  Alice  Cunningham  (b.  Boston, 
1845),  whose  life  has  been  given  to  anthropo- 
logical study,  especially  as  concerns  the  North 
American  Indians,  began  publishing  upon  In- 
dian music  in  1893.     See  art. 

Forsyth,  Wesley  Octavius  (b.  near  Toronto, 
1863),  trained  in  Toronto,  Leipzig  and  Vienna, 
since  1892  has  been  teacher  and  pianist  in 
Toronto,  part  of  the  time  as  director  of  the 
Metropolitan  School  of  Music.     See  art. 

Foster,  Fay  (b.  Leavenworth,  Kan.,  ?  ), 
trained  in  Chicago  and  later  abroad,  besides 
early  work  as  teacher,  pianist  and  organist, 
since  1911  has  been  known  as  composer  of 
songs  and  choruses  in  New  York.     See  art. 

*Fox,  Felix  (b.  Silesia,  1876),  brought  to 
America  when  a  child,  studied  in  Boston,  New 
York,  Leipzig  and  Paris,  and  since  1897  has 
been  pianist  and  teacher  in  Boston,  in  1898 
founding  the  Fox-Buonamici  School.     See  art. 

Freer,  Eleanor,  nee  Everest  (b.  Philadelphia, 
1864),  trained  in  Philadelphia  and  Paris,  has 
devoted  herself  chiefly  to  song-writing,  pub- 
lishing from  1902,  but  known  earlier.     See  art. 

*Frey,  Adolph  (b.  Bavaria,  1865),  has  been 
piano-teacher  at  Syracuse  University  since 
1893,  in  1905-06  acting-dean  of  the  College 
of  Fine  Arts.  He  has  written  vocal  and 
instrumental  pieces,  and  the  music  for  the 
Latin  play  '  Trinummus,'  1895.  Mus.D.  of 
Syracuse  University  in  1914. 

*Friedheim,  Arthur  (b.  Russia,  1859,  of  Ger- 
man parents) ,  the  eminent  pianist  and  conduc- 
tor, toured  in  America  in  1891-95,  taught  in 
Chicago  in  1900-01,  from  1910  was  often  heard 
in  America,  and  since  1914  has  lived  in  New 
York.     See  Vol.  ii.  110,  and  art. 

Fry,  Henry  S.  (b.  Pottstown,  Pa.,  1875), 
since  before  1900  has  been  organist  in  or  near 
Philadelphia,  becoming  noted  as  recitalist  and 
church-composer.     See  art. 

Fullerton,  Charles  Alexander  (b.  Man- 
chester, N.  H.,  1861),  trained  chiefly  in 
Chicago,  from  1890  was  superintendent  of 
schools  in  Iowa,  and  since  1897  has  been 
teacher  and  conductor  at  the  Iowa  State 
Teachers  College  at  Cedar  Falls.  He  is  a 
prominent  authority  upon  public-school  music. 

*Gadski,  Johanna  Emilia  Agnes  (b.  Pome- 
rania,  1872),  the  famous  Wagnerian  soprano, 


70 


CHRONOLOGICAL  REGISTER 


[8:  1890-1900 


from  1895  till  1917'was  constantly  engaged  in 
America.     See  art. 

*Gale,  Clement  Rowland  (b.  England,  1862), 
an  experienced  organist,  since  1890  has  been 
organist  in  New  York,  for  many  years  also 
teaching  in  the  General  Theological  Seminary 
and  the  Guilmant  Organ  School.     See  art. 

Gales,  Weston  (b.  Elizabeth,  N.  J.,  1877), 
graduated  from  Yale  in  1898,  studied  there 
and  in  New  York,  from  1899  was  organist  in 
or  near  New  York,  from  1908  in  Boston,  in 
1913  conducted  orchestral  concerts  in  Europe, 
and  in  1914-18  was  the  first  conductor  of  the 
Detroit  Symphony  Orchestra.     See  art. 

*Gallico,  Paolo  (b.  Trieste,  1868),  since  1892 
has  been  concert-pianist  and  teacher  in  New 
York.     See  art. 

*Gandell,  Shirley  Mark  Kerr  (b.  England, 
1866),  since  1895  has  taught  in  America,  from 
1897  in  Chicago,  with  the  Balatka  School 
from  1899,  the  Sherwood  School  from  1901, 
and  the  Cosmopolitan  School  since  1908. 

Gaul,  Harvey  Bartlett  (b.  New  York,  1881), 
studied  first  in  New  York,  later  in  England 
and  Paris,  from  1898  was  organist  in  New 
York,  in  Paris,  in  Cleveland,  and  since  in 
Pittsburgh.     See  art. 

Gaynor,  Jessie  Level,  nee  Smith  (b.  St. 
Louis,  1863),  after  study  in  Boston  and 
Chicago,  devoted  herself  to  developing  methods 
of  teaching  children.  She  has  taught  in  Chi- 
cago, Nashville  and  St.  Joseph,  Mo.,  and  for 
some  years  in  St.  Louis.     See  art. 

*Genss,  Hermann  (b.  East  Prussia,  1856), 
in  1899  came  as  teacher  to  the  Irving  Institute, 
San  Francisco,  and  since  1905  has  been  di- 
rector there.  He  has  written  the  opera 
*  Hunold  der  Spielmann  '  (1914),  orchestral 
and  chamber-music,  songs,  etc. 

Gilbert,  Henry  Franklin  Belknap  (b.  Somer- 
ville,   Mass.,    1868),  studied  in  Boston,  from 

1893  was  variously  employed  there  and  in 
Paris,  in  1901  joined  Farwell  in  founding  tho 
Wa-Wan  Press,  and  is  living  at  Cambridge 
as  composer.     See  art. 

Gilman,  Benjamin  Ives  (b.  New  York,  1852), 
who  since  1893  has  been  secretary  of  the 
Boston  Museum  of  Fine  Arts,  has  made 
original  investigations  in  the  music  of  the 
American  Indians,  publishing  ZuTii  Melodies, 
1891,  and    Hopi  Melodies,   1908. 

*Giorza,  Paolo  (Italy,  1838-1914,  Seattle), 
known  in  Italy  since  1853  as  composer  of 
ballets,  from  about  1890  taught  in  New  York 
and  lived  later  in  London,  San  Francisco  and 
Seattle  (from  1906).  For  list  of  works,  see 
Baker,  Diet,  of  Musicians,  p.  311. 

*Glasson,  T.  Bath  (b.  England,  ?  ),  edu- 
cated in  New  York,  from-  1892  taught  at 
Pratt  Institute,  Brooklyn,  from  1895  in 
Michigan,  and  since  1900  has  been  organist 
and  conductor  in  Brooklyn,  publishing  peda- 
gogical works  and  some  vocal  music. 

Glen,  Irving  Mackey  (b.  Brooklyn,  1871), 
graduated  from  the  University  of  Oregon  in 

1894  and  then  student  of  English  at  Johns 


Hopkins,  from  1896  was  professor  of  languages 
in  Oregon,  but  also  kept  up  musical  studies, 
in  1901  becoming  dean  of  music  in  the  Uni- 
versity of  Oregon  and  since  1911  professor 
in  the  University  of  Washington  (dean  of  Fine 
Arts  since  1915).  He  is  a  concert-baritone, 
and  since  1903  has  conducted  various  festivals. 

Goepp,  Philip  Henry  (b.  New  York,  1864), 
graduated  from  Harvard  in  1884  (also  trained 
as  a  lawyer),  studied  music  in  college,  New 
York  and  Philadelphia,  and  since  1891  has 
been  organist,  teacher,  composer  and  author 
in  Philadelphia.     See  art. 

Gogorza,  Emilio  Edoardo  de  (b.  Brooklyn, 
1874),  was  educated  in  Spain,  France,  England 
and  finally  New  York,  where  since  1897  he  has 
been  a  popular  concert-baritone.  In  1911  he 
married  the  soprano  Emma  Eames  (see  sec.  7). 

Goldmark,  Rubin  (b.  New  York,  1872), 
nephew  of  the  composer  Karl  Goldmark, 
studied  in  New  York  and  Vienna,  from  1891 
taught  at  the  National  Conservatory  in  New 
York,  from  1894  was  director  at  Colorado 
College,  and  since  1902  has  been  teacher, 
composer  and  recitalist  in  New  York.     See  art. 

Grant-Schaefer,  George  Alfred  (b.  Wil- 
liamstown,  Ont.,  1872),  studied  in  Montreal, 
Chicago  and  London,  from  1896  was  organist 
in  Chicago,  and  since  1908  has  been  vocal 
teacher  at  Northwestern  University,  compos- 
ing songs  and  piano-pieces. 

*Gray,  Herbert  Willard  (b.  England,  1868), 
since  1894  has  been  American  representative  of 
Novello,  and  from  1906  head  of  the  II.  W. 
Gray  Co.  in  New  York,  publishers  of  '  The 
New  Music  Review  '  and  of  high-class  musical 
literature. 

Grimm,  Carl  William  (b.  Dayton,  1863), 
studied  in  Chicago  and  Leipzig,  and  since 
1893  has  been  teacher  in  Cincinnati  and  author 
of  many  instruction-books.     See  art. 

*Gruenberg,  Eugene  (b.  Galicia.  1854), 
after  long  experience  as  violinist  at  Leipzig, 
in  1891  joined  the  Boston  Symphony  Or- 
chestra, in  1893-96  also  taught  at  the  Boston 
Conservatory,  and  since  1899  at  the  New 
England  Conservatory.  He  has  composed 
a  symphony,  the  ballet  '  Tanzbilder  '  (both 
given  at  Leipzig),  a  violin-sonata,  a  '  Suite 
im  antiken  Stil  '  and  other  violin-works,  and 
published  works  on  violin-playing  (1897,  1901). 

Gunn,  Glenn  Dillard  (b.  Topeka,  Kan., 
1874),  studied  in  Topeka  and  Leipzig,  from 
1896  was  concert-pianist  in  Germany,  and 
since  1900  has  been  teacher,  pianist,  critic 
and  conductor  in  Chicago.     See  art. 

Hackett,  Karleton  Spalding  (b.  Brookline, 
Mass.,  1867),  graduated  from  Harvard  in  1891, 
studied  in  Florence,  Munich  and  London,  has 
worked  in  Chicago  since  1893  as  concert- 
singer,  teacher  at  Northwestern  University 
and  the  American  Conservatory,  lecturer  and 
critic.     See  art. 

Hadley,  Henry  Kimball  (b.  Somerville, 
Mass.,  1871),  trained  in  Boston  and  Vienna, 
appeared  as  composer  in  1895,  from  that  year 


8:  1890-1900] 


CHRONOLOGICAL  REGISTER 


71 


taught  at  Garden  City,  N.  Y.,  in  1904-09 
conducted  and  composed  in  Germany,  led 
the  Seattle  Orchestra  from  1909  and  the  San 
Francisco  Orchestra  from  1911,  and  since 
1915  has  lived  in  New  York.     See  art. 

Haesche,  William  Edwin  (b.  New  Haven, 
Conn.,  1867),  trained  in  Boston  and  New 
Haven,  since  1897  has  been  violinist  and  from 
1902  conductor  in  New   Haven.     See  art. 

Hahn,  Carl  (b.  Indianapolis,  1874),  studied 
in  Cincinnati,  from  about  1895  was  'cellist 
there,  from  1900  orchestral  and  choral  con- 
ductor in  San  Antonio,  and  since  1913  con- 
ductor in  New  York  of  the  Arion  (till  1918) 
and  Mozart  Societies  and  in  Brooklyn. 

*Hall,  William  John  (b.  England,  1867), 
came  to  America  as  tenor  in  the  Boston  Lyric 
Opera  Company,  taught  in  Rock  Island,  111., 
and  Cedar  Rapids,  la.,  was  conductor  at 
St.  Paul  and  organist  at  Davenport,  la.,  and 
latterly  has  been  located  at  St.  Louis.     See  art. 

*Ham,  Albert  (b.  England,  1858),  since  1897 
has  been  a  prominent  organist,  conductor  and 
composer  in  Toronto.     See  art. 

*Hambourg,  Mark  (b.  Russia,  1879),  the 
noted  pianist,  has  made  American  tours  in 
1899-1900,  1902-03,  1907-08  and  1915-16. 

Hamlin,  George  John  (b.  Elgin,  111.,  1868), 
a  concert-tenor  since  about  1895,  in  1904-06 
sang  in  Europe,  and  since  1911  has  been  active 
in  opera  and  concert  in  America.     See  art. 

*Hein,  Karl  (b.  Schleswig,  1864),  having 
been  a  'cellist  in  Hamburg,  from  1891  taught 
in  the  German  Conservatory,  New  York,  and 
since  1900,  with  August  Fraemcke,  has  been 
its  director.  Since  1906  they  have  also  con- 
ducted the  New  York  College  of  Music.  He 
has  published  vocal  text-books. 

Heinroth,  Charles  (b.  New  York,  1874), 
studied  in  New  York  and  Munich,  from  1893 
was  organist  in  Brooklyn  and  New  York, 
teaching  also  at  the  National  Conservatory, 
and  since  1907  has  been  organist  at  the 
Carnegie  Institute,  Pittsburgh.     See  art. 

*Herzog,  Sigmund  (b.  Hungary,  1868), 
trained  as  pianist  at  Vienna,  in  1890-94 
taught  at  the  German  Conservatory  in  New 
York,  and  has  since  been  teacher  and  ensemble- 
player.  He  has  edited  useful  instruction-books 
and  been  active  in  musicians'  associations. 

*Hesselberg,  Edouard  Gregory  (b.  Russia, 
1870),  came  to  America  in  1892,  from  1895 
taught  at  Ithaca,  N.  Y.,  from  1896  at  Denver, 
from  1900  at  Macon,  Ga.,  from  1905  at  Nash- 
ville, Tenn.,  and  since  1912  at  Toronto.  He 
has  written  two  orchestral  suites,  piano-  and 
violin-pieces,  etc.,  and  was  a  contributor  to 
The  Art  of  Music,  1916. 

Heyman,  Katharine  Ruth  Willoughby  (b. 
Sacramento,  Cal.,  ?  ),  trained  as  concert- 
pianist  in  both  America  and  Europe,  from 
1899  toured  in  the  United  States,  from  1905 
was  widely  heard  in  Europe,  and  in  1916 
returned  to  America  again.     See  art. 

Hill,  Edward  Burlingame  (b.  Cambridge, 
Mass.,    1872),    graduated    from    Harvard    in 


1894,  studied  there  and  in  Boston,  and  since 
1908  has  taught  at  Harvard,  with  fine  critical 
work  and  able  composition.     See  art. 

Hinckley,  Allen  Carter  (b.  Gloucester, 
Mass.,  1877),  graduate  of  the  University  of 
Pennsylvania,  trained  in  Philadelphia  and 
New  York,  after  some  teaching  and  conduct- 
ing, sang  from  1901  with  the  Bostonians, 
from  1903  in  opera  in  Germany  and  England, 
and  since  1908  has  been  prominent  in  America 
in  opera  and  concert. 

Hinshaw,  William  Wade  (b.  Union,  la., 
1867),  graduated  from  Valparaiso  University 
in  1888,  studied  there  and  in  Chicago,  began 
teaching  in  1891,  from  1895  was  dean  at 
Valparaiso,  and  since  1899  has  been  active 
in  the  operatic  field.     See  art. 

Hissem-DeMoss,  Mary  (b.  California,  Ky., 
1871),  having  studied  at  Cincinnati  and  New 
York,  since  1899  has  been  a  favorite  church- 
and  oratorio  singer  in  New  York. 

*Holmberg,  Gustaf  Fredrik  (b.  Sweden, 
1872),  came  to  America  in  1891,  graduated 
in  1899  from  Bethany  College  in  Kansas, 
becoming  teacher  of  violin.  Since  1903  he  has 
taught  at  the  University  of  Oklahoma,  in  1909 
becoming  dean  of  Fine  Arts.     See  art. 

*Holmes,  Henry  (England,  1839-1905,  San 
Francisco),  the  violinist  and  composer,  from 
1894  lived  in  California.     See  Vol.  ii.  421-2. 

Homer,  Louise  Dilworth,  n6e  Beatty  (b. 
Pittsburgh,  1872?),  trained  as  contralto  in 
Philadelphia,  Boston  and  Paris,  in  1894  a 
church-singer  in  Boston,  went  to  Paris  in 
1896    with    her    husband    (see    below),    from 

1898  appeared  in  opera  in  France  and  England, 
from  1900  in  New  York,  and  has  since  been 
eminent  in  opera  and  concert.     See  art. 

Homer,  Sidney  (b.  Boston,  1864),  studied 
in  Boston,  Leipzig  and  Munich,  from  1890 
taught  in  Boston,  in  1895  married  Louise 
Beatty  (see  above),  and  since  1900  has  lived 
in  New  York,  chiefly  as  song-composer.   See  art. 

Hopkins,  Harry  Patterson  (b.  Baltimore, 
1873),  trained  at  Baltimore  and  Prague,  since 

1899  has  been  organist  in  Baltimore  and  teacher 
in  Washington.  He  has  written  two  over- 
tures, two  suites,  the  orchestral  fantasy  '  The 
Dreamer,'  the  chorus  '  A  Tragedy,'  a  piano- 
quintet,  piano-pieces  and  many  songs. 

Hughes,  Rupert  (b.  Lancaster,  Mo.,  1872), 
graduated  from  Adelbert  College  in  1892,  has 
published  songs  since  1892,  and  has  been  a 
notable  author  and  critic  since  1898,  including 
much  outside  the  field  of  music.     See  art. 

Hugo,  John  Adam  (b.  Bridgeport,  Conn., 
1873),  trained  at  Stuttgart,  from  1899  taught 
in  Baltimore,  and  since  1906  in  Bridgeport. 
He  has  written  the  operas  '  The  Hero  of 
Byzanz  '  and  '  The  Temple  Dancer,'  a  sym- 
phony, two  piano-concertos,  a  piano-trio,  etc. 

Hyde,  Arthur  Bewail  (Bath,  Me.,  1875-1920, 
New  York) ,  graduated  at  Harvard  in  1896,  was 
then  organist  at  Immanuel  Church  in  Boston, 
and  from  1905  at  St.  Bartholomew's  in  New 
York,   becoming   noted  as  player  and  choir- 


72 


CHRONOLOGICAL  REGISTER 


[8:  1890-1900 


trainer.  He  was  captain  in  the  war  and  died 
from  after-effects  of  being  gassed  at  Cantigny. 

Jackson,  Leonora  (b.  Boston,  1879),  studied 
in  Berlin,  appeared  as  concert-violinist  in 
Germany  and  other  European  countries, 
receiving  many  distinctions,  and  from  1900 
was  for  a  time  active  in  the  United  States. 

Jepson,  Harry  Benjamin  (b.  New  Haven, 
Conn.,  1870),  trained  at  New  Haven  and 
Paris,  since  1896  has  been  instructor  in  the 
Yale  School  of  Music  and  university-organist, 
as  well  as  concert-organist  elsewhere.     See  art. 

*  Jonas,  Alberto  (b.  Spain,  1868),  from  1894 
chief  piano-teacher  at  the  University  of 
Michigan,  from  1898  was  head  of  a  school  in 
Detroit,  besides  making  tours  as  player,  in 
1904-14  worked  in  Berlin,  and  since  1914  has 
taught  in  New  York.     See  art. 

*  Jordan,  Mary  (b.  Wales,  1879),  early 
brought  to  America,  studied  in  Seattle,  San 
Francisco  and  New  York,  was  a  church- 
singer  from  about  1892  in  Brooklyn  and  New 
York  and  soon  in  concert  as  well.  In  1911-14 
she  was  contralto  in  the  Boston  Opera  Com- 
pany.    In  1919  she  married  C.  C.  Cresson. 

Kaufmann,  Maurice  (b.  New  York,  1876), 
studied  violin  in  Newark,  Frankfort  and 
Brussels,  early  became  a  concert-player,  was 
concertmaster  in  the  Russian  and  Volpe 
Orchestras  in  New  York,  now  in  the  People's 
Orchestra,  and  member  of  various  ensemble- 
groups,  including  since  1907  his  own  Quartet. 

Keller,  Walter  (b.  Chicago,  1873),  trained 
in  Chicago  and  Leipzig,  from  1899  taught  at 
Northwestern  University,  from  1906  at  the 
Sherwood  School  in  Chicago,  of  which  he 
became  director  in  1911,  and  in  1903-18  was 
organist  at  St.  Vincent's.     See  art. 

♦Kinder,  Ralph  (b.  England,  1876),  came 
to  America  when  a  boy,  studied  in  Providence 
and  England,  from  1898  was  organist  in 
Providence,  and  since  1899  in  Philadelphia. 
He  has  played  extensively  elsewhere,  conducts 
three  choral  societies,  directs  his  own  organ- 
school,  and  has  written  many  effective  organ- 
pieces,  choruses,  anthems,  songs,  etc. 

Kinkeldey,  Otto  (b.  New  York,  1878), 
graduated  from  the  College  of  the  City  of 
New  York  in  1898,  studied  there  and  in  Berlin, 
from  1898  was  organist  in  New  York,  from 
1903  at  the  American  Church  in  Berlin,  in 
1909-14  professor  at  the  University  of  Breslau, 
and  since  1915  head  of  the  music-division  in 
the  New  York  Public  Library.     See  art. 

*B:iee,  Eugen  (b.  Bavaria,  1869),  in  1894 
came  to  Philadelphia  as  organist  and  con- 
ductor of  the  Siingerbund  and  other  German 
singing-societies,  from  1914  was  leader  of  the 
Brooklyn  Arion,  and  since  1917  of  the  New 
York  Liederkranz. 

*Klengel,  Paul  K.  (b.  Saxony,  1854), 
conductor  and  since  1908  professor  at  Leipzig, 
in  1898-1902  was  leader  of  the  Liederkranz 
in  New  York. 

*Koemmenich,  Louis  (b.  Rhine  Prov.,  1866), 
came  to  Brooklyn  in  1890  to  lead  the  Sanger- 


bund,  and  since  then  has  directed  important 
choral  societies  in  New  York  and  Philadelphia. 
See  art. 

Kohler,  Franz  (Clinton,  la.,  1877-1918,  Erie, 
Pa.),  trained  as  violinist  at  Weimar  and 
Berlin,  from  1898  was  in  the  Pittsburgh 
Orchestra  and  the  Mendelssohn  Trio,  from 
1911  taught  at  Oberlin  Conservatory,  and 
since  1913  has  been  conductor  of  the  Sym- 
phony Orchestra  at  Erie,  Pa. 

*Korn,  Clara  Anna,  nee  Gerlach  (b.  Prussia, 
1866),  brought  to  America  as  a  chUd,  studied 
in  New  York,  in  1893-98  taught  in  the  National 
Conservatory  there,  and  since  then  in  other 
schools  and  privately.     See  art. 

Kraft,  Edwin  Arthur  (b.  New  Haven,  Conn., 
1883),  trained  at  New  Haven  and  Paris,  from 
1898  was  organist  in  New  Haven,  in  1901- 
03  in  Brooklyn,  from  1905  at  Wheeling,  W. 
Va.,  from  1907  at  Trinity  Cathedral,  Cleve- 
land, from  1914  city-organist  at  Atlanta,  and 
since  1916  again  at  Cleveland.     See  art. 

Kraft,  William  Jacob  (b.  New  Haven, 
Conn.,  1872),  brother  of  the  above,  studied 
at  New  Haven,  where  from  1891  he  was 
organist,  from  1909  was  in  public-school  work 
in  New  York,  and  since  1912  has  been  associate 
professor  at  Teachers  College  there.     See  art. 

*Bj-auss,  Arnold  (b.  Rumania,  1866),  con- 
cert-violinist, since  1897  has  lived  in  Los 
Angeles  as  player  and  teacher,  lately  being 
concertmaster  of  the  Symphony  Orchestra. 

*Kunits,  Luigi  von  (b.  Austria,  1870),  from 
1893  taught  in  Chicago,  from  1896  was  concert- 
master  of  the  Pittsburgh  Orchestra,  in  1910-12 
taught  in  Vienna,  and  since  1912  has  been  on 
the  staff  of  the  Canadian  Academy  of  Music 
in  Toronto.     See  art. 

Kiksteiner,  Jean  Paul  (b.  Catskill,  N.  Y., 
1864),  since  1893  has  been  instructor  at  the 
Ogontz  School  in  Philadelphia  and  in  1896— 
1906  also  at  the  Baldwin  School,  Bryn  Mawr. 
Since  1906  he  has  also  taught  in  New  York, 
publishing  Essays  on  Expert  Aid  to  Artistic 
Piano-Playing. 

LaFlesche,  Francis  (b.  Omaha  Reservation, 
Neb.,  I860?),  while  employed  in  the  Bureau 
of  Indian  Affairs  in  Washington,  collaborated 
with  Alice  C.  Fletcher  (see  above)  in  A  Study 
of  Omaha  Music,  1893,  besides  writing  often 
for  scientific  journals. 

Lang,  Henry  Albert  (b.  New  Orleans,  1854), 
after  study  at  Stuttgart  and  Karlsruhe  and 
much  experience  as  pianist,  returned  to  America 
in  1890,  and  since  1891  has  been  a  noted 
teacher  and  composer  in  Philadelphia.    See  art. 

Lang,  Margaret  Ruthven  (b.  Boston,  1867), 
daughter  of  B.  J.  Lang  (see  sec.  4),  was  trained 
in  Boston  and  Munich,  and  since  about  1890 
has  been  mainly  occupied  with  composition 
in  Boston.     See  Vol.  ii.  632,  and  art. 

Lehmann,  Friedrich  J.  (b.  Cleveland,  1866), 
studied  at  Oberlin  and  Leipzig,  since  1902  has 
been  professor  of  theory  in  the  Oberlin  Con- 
servatory. He  has  published  handbooks  on 
harmony  and  counterpoint. 


8:  1890-1900] 


CHRONOLOGICAL  REGISTER 


73 


*Le  Sueur,  Peter  (b.  Isle  of  Jersey,  1871), 
from  1895  organist,  teacher  and  conductor 
at  St.  John's,  N.  F.,  since  1905  has  held  similar 
positions  at  Erie,  Pa.,  from  1913  at  the  head 
of  the  Erie  Conservatory. 

Lewis,  Leo  Rich  (b.  South  Woodstock,  Vt., 
1865),  graduated  from  Tufts  College  in  1887, 
studied  in  Munich,  and  since  1892  has  been 
instructor  at  Tufts,  at  first  in  French,  since 
1895  in  music.     See  art. 

Lichtenstein,  Victor  (b.  St.  Louis,  1872), 
trained  as  violinist  at  Leipzig  and  Brussels, 
has  played  in  concert  since  1895,  long  conduct- 
ing the  Young  People's  String  Orchestra  in 
St.  Louis,  leading  the  Lichtenstein  Quartet, 
teaching  and  acting  as  lecturer  and  critic. 

Liebling,  Leonard  (b.  New  York,  1874), 
nephew  of  Emil  Liebling  (see  sec.  5),  graduated 
from  the  College  of  the  City  of  New  York, 
studied  at  Berlin,  since  1899  has  been  critic 
and  librettist  in  New  York,  with  '  The  Musical 
Courier  '  from  1902  and  its  editor  from  1914. 
See  art. 

Limbert,  Frank  L.  (b.  New  York,  1866), 
has  lived  in  Germany  since  boyhood,  studying 
at  Frankfort,  Munich,  Berlin  and  Strassburg, 
and  becoming  teacher  and  conductor  at  Frank- 
fort, Diisseldorf  and  (since  1906)  Hanau.  For 
list  of  works,  see  Who's  Who  in  Music. 

Listemann,  Franz  (b.  New  York,  1873),  son 
of  Bernhard  Listemann  (see  sec.  5),  trained 
as  'cellist  at  Boston,  Leipzig  and  Berlin,  in 
1896-97  played  in  the  Pittsburgh  Orchestra, 
and  then  went  to  New  York  as  teacher,  soloist 
and  member  of  chamber-music  groups. 

Lockwood,  Albert  Lewis  (b.  Troy,  N.  Y., 
1871),  studied  the  piano  at  Albany,  Leipzig, 
Vienna  and  Florence,  appeared  in  concert  in 
1895-96  in  Paris  and  London  and  in  1896  in 
New  York,  toured  extensively  at  home  and 
abroad,  and  since  1900  has  been  influential  as 
professor  at  the  University  of  Michigan. 

*Longy,  Georges  (b.  France,  1868),  after 
many  years'  experience  as  oboist  at  Paris,  in 
1898  joined  the  Boston  Symphony  Orchestra. 
In  1900  he  founded  the  Longy  Club.     See  art. 

Loomis,  Harvey  Worthington  (b.  Brooklyn, 
1865),  after  study  in  New  York,  since  about 
1895  has  been  engaged  upon  composition, 
largely  in  the  field  of  light  opera.     See  art. 

Loud,  John  Hermann  (b.  Weymouth,  Mass., 
1873),  trained  in  Boston,  Berlin,  Paris  and  Eng- 
land, has  been  concert-organist  since  1895,  also 
at  churches  in  Springfield,  Mass.,  from  1896, 
in  or  near  Boston  since  1900.  He  has  written 
organ-music,  piano-pieces,  anthems,  etc. 

Lovewell,  Samuel  Harrison  (b.  Wellesley, 
Mass.,  1865),  studied  in  Boston,  from  1891 
was  organist  at  Easton,  Pa.,  from  1893  at 
Georgetown,  Ky.,  from  1896  at  Columbia, 
S.  C,  from  1898  director  at  Whitman  College, 
Walla  Walla,  Wash.,  from  1906  director  of 
the  Quincy  (111.)  Conservatory,  in  1911-12 
organist  at  Jenkintown,  Pa.,  and  since  1917 
at  Taunton,  Mass.  He  has  long  been  editor 
for  C.  W.  Thompson  &  Co.,  Boston.     See  art. 


*Malcherek,  Karl  August  (b.  Hesse,  1873), 
from  1899  violinist  in  the  Thomas  Orchestra 
in  Chicago,  since  1902  has  been  player  and 
teacher  in  Pittsburgh,  till  1910  in  the  Pitts- 
burgh Orchestra  and  since  1913  in  the  faculty 
of  the  Carnegie  Institute  of  Technology. 

Manney,  Charles  Fonteyn  (b.  Brooklyn, 
1872),  trained  in  Boston,  since  1898  has  been 
on  the  editorial  staff  of  the  Ditson  Company, 
conductor  and  composer,  chiefly  of  vocal 
music.     See  art. 

Manning,  Edward  Betts  (b.  St.  John,  N.  B., 
1874),  after  studying  law  in  St.  John,  took  up 
music  in  New  York,  later  also  in  Berlin  and 
Paris,  from  1897  taught  in  New  York,  from 
1905  at  Oberlin  College,  from  1908  was  music- 
supervisor  in  New  York,  and  since  1915  has 
been  instructor  in  Columbia  University.  He 
has  written  a  piano-trio  and  some  other  works. 

Marshall,  John  Patton  (b.  Rockport,  Mass., 
1877),  trained  in  Boston,  from  1896  was  organ- 
ist there,  and  since  1902  has  been  professor  in 
Boston  University.     See  art. 

Matlack,  Henry  William  (b.  Steubenville, 
O.,  1875),  studied  at  Oberlin,  from  1897  was 
instructor  there,  in  1901-03  and  since  1908 
has  been  teacher  of  organ  and  theory  at  Grin- 
nell  College,  besides  engagements  as  organist 
in  Ohio  and  Iowa. 

*Mattfeld,  Marie,  a  German  operatic  mezzo- 
soprano,  since  1896  almost  steadily  engaged 
with  American  opera-troupes,  from  1905  at 
the  Metropolitan  Opera  House,  New  York. 

*Matthews,  Harry  Alexander  (b.  England, 
1879),  since  1899  organist  and  composer  in 
Philadelphia,  is  best  known  for  several  canta- 
tas, sacred  and  secular.     See  art. 

*Matthews,  John  Sebastian  (b.  England, 
1870),  brother  of  the  preceding,  from  1891 
organist  in  Philadelphia,  from  1901  at  Morris- 
town,  N.  J.,  and  since  1916  at  Providence. 
He  also  has  written  cantatas,  etc.     See  art. 

McClellan,  John  Jasper  (b.  Payson,  Utah, 
1874),  studied  mostly  at  the  University  of 
Michigan,  where  from  1893  he  was  organist 
and  conductor,  from  1896  taught  at  Salt  Lake 
City  and  Provo,  Utah,  and  since  1901  has 
been  professor  at  the  University  of  Utah  and 
organist  at  the  Tabernacle  in  Salt  Lake  City. 
In  1908  he  started  the  Salt  Lake  Symphony 
Orchestra  and  in  1911  the  Utah  Conservatory. 

McConathy,  Osbourne  (b.  Pittspoint,  Ky., 
1875),  trained  in  Louisville  and  Boston,  since 
about  1895  has  been  successful  in  public- 
school  work,  first  at  Louisville,  then  at  Chelsea, 
Mass.,  and  latterly  on  the  staff  of  Northwestern 
University,  Evanston,  111.  He  has  also  served 
as  choral  conductor  and  edited  many  text- 
books for  school-singing. 

McCutchan,  Robert  Guy  (b.  Mountayr,  la., 
1877),  graduated  from  Park  College  in  Mis- 
souri in  1898,  began  teaching  in  1899,  from 
1904  taught  at  Baker  University  in  Kansas,  in 
1910-11  studied  in  Europe,  and  since  1911 
has  been  dean  of  music  at  DePauw  University 
in  Indiana.     See  art. 


74 


CHRONOLOGICAL  REGISTER 


[8:  1890-1900 


McWhood,  Leonard  Beecher  (b.  Brooklyn, 
1870),  graduated  from  Columbia  in  1893,  took 
graduate  courses  in  music  and  other  subjects, 
in  1897-1910  taught  there,  also  at  Vassar 
College  in  1902-07,  in  1907-1916  at  Drew 
Theological  Seminary,  also  at  Washington  in 
1910-13  and  in  the  Newark  High  School  in 
1913-18,  and  since  1918  has  been  music- 
director  at  Dartmouth  College.     See  art. 

Mead,  Olive  (b.  Cambridge,  Mass.,  1874), 
trained  as  violinist  in  Boston,  has  appeared  in 
concert  from  1898  and  in  1904  formed  a  well- 
known  Quartet.     See  art. 

*Middelschulte,  Wilhelm  (b.  Westphalia, 
1863),  after  having  been  organist  in  Berlin, 
came  to  Chicago  in  1891,  where  he  has  been 
eminent  as  player  and  composer.     See  art. 

*Miersch,  Karl  Alexander  Johannes 
(Saxony,  1865-1916,  Cincinnati),  an  expert 
violinist,  joined  the  Boston  Symphony  Or- 
chestra in  1892,  in  1894-1902  was  teaching 
in  Athens  or  touring,  returned  to  America  and 
from  1910  was  professor  in  the  Cincinnati 
College  of  Music. 

*Miersch,  Paul  Friedrich  Theodor  (b.  Sax- 
ony, 1868),  brother  of  the  preceding  and  a  fine 
'cellist,  came  to  New  York  in  1892,  from  1893 
playing  in  the  Symphony  Society  and  since 
1898  at  the  Metropolitan  Opera  House.  He 
has  written  'cello-concertos,  an  '  Indian  Rhap- 
sody '  for  orchestra,  chamber-music  and  songs. 

Miller,  Russell  King  (b.  Philadelphia,  1871), 
trained  in  Philadelphia  and  New  York,  since 
about  1895  has  been  noted  as  organist, 
teacher  and  composer  in  Philadelphia.    See  art. 

*Mills,  Charles  Henry  (b.  England,  1873), 
in  1892-93  toured  in  America  aa  pianist,  in 
1907-08  taught  theory  at  Syracuse  University, 
from  1908  was  professor  at  the  University  of 
Illinois,  and  since  1914  has  been  professor  at 
the  University  of  Wisconsin.     See  art. 

Mueller,  Frederick  William  (b.  Sandusky, 
O.,  1863),  studied  at  Oberlin  and  Leipzig, 
from  1891  taught  at  Knox  College,  from  1902 
was  director  of  the  Tarkio  Conservatory  in 
Missouri,  from  1913  vice-president  of  Tarkio 
College,  in  1915-16  head  of  the  Northwestern 
Conservatory,  Minneapolis,  and  since  1916  is 
director  of  the  Twin  City  Conservatory  there. 

Neidlinger,  William  Harold  (b.  Brooklyn, 
1863),  trained  in  New  York  and  London,  from 
1890  was  organist  and  conductor  in  Brooklyn, 
from  1896  taught  in  London  and  Paris, 
from  1898  was  an  effective  singing-teacher  in 
Chicago,  specialized  in  child-psychology  and 
songs  for  children,  and  established  a  school 
for  subnormal  children  at  East  Orange,  N.  J. 
Besides  the  comic  operas  '  Ulysses  '  (1901) 
and  '  Sweet  Anne  Page  '  (1903) ,  and  the  cantata 
'  Prayer,  Promise  and  Praise,'  he  has  written 
many  songs,  including  (from  1900)  several 
favorite  sets  for  children. 

*Nepomuceno,  Alberto  (b.  Ceard,  Brazil, 
1864),  for  many  years  has  been  head  of  the 
Instituto  Nacional  de  Musica  in  Rio  de 
Janeiro.     He    is    a    composer    of    importance 


and  collector  of  Brazilian  folk-songs.  See 
Who's  Who  in  Miisic,  1918. 

Nevin,  Arthur  Finley  (b.  Edgeworth,  Pa., 
1871),  brother  of  Ethelbert  W.  Nevin  (see 
sec.  7),  studied  in  Boston  and  Berlin,  from 
1897  taught  in  Pittsburgh,  in  1903-04  traveled 
much  in  the  West  to  study  Indian  music  and 
legends,  in  1910-11  went  abroad,  then  lived 
at  Charlottesville,  Va.,  composing  and  in  1914- 
15  conducted  at  Peterboro,  N.  H.  Since  1915 
he  has  been  professor  at  the  University  of 
Kansas.     See  art. 

Nielsen,  Alice  (b.  Nashville,  Tenn.,  1876), 
trained  as  operatic  soprano  in  San  Francisco, 
from  1893  sang  in  light  opera,  in  1896-98  was 
with  the  Bostonians,  from  1901  studied  in 
Rome  and  from  1903  appeared  in  grand  operd 
as  well,  since  1906  being  connected  with  various 
companies  in  America.  In  1892  she  married 
Benjamin  Nentwig,  organist  in  Kansas  City. 

*Novacek,  Ottokar  Eugen  (Hungary, 
1866-1900,  New  York),  an  accomplished 
violinist  and  composer,  joined  the  Boston 
Symphony  Orchestra  in  1891  and  in  1892-99 
played  in  New  York.     See  Vol.  iii.  410,  and  art. 

Noyes,  Edith  Rowena  (b.  Cambridge,  Mass., 
1875),  studied  in  Boston  and  since  1895  has 
been  pianist  and  teacher  there,  with  European 
tours  in  1899  and  1909,  besides  considerable 
composition.     See  art. 

*Oberhoffer,  Emil  (b.  Bavaria,  1867),  came 
to  America  about  1895,  from  1897  was  con- 
ductor in  St.  Paul,  and  since  1901  in  Min- 
neapolis, where  since  1903  he  has  led  the 
Minneapolis  Symphony  Orchestra.     See  art. 

Getting,  William  H.  (b.  Pittsburgh,  1875), 
trained  at  Pittsburgh  and  Berlin,  has  been 
a  prominent  organist  and  teacher  in  Pittsburgh 
since  1897.     See  art. 

Oldberg,  Arne  (b.  Youngstown,  O.,  1874), 
studied  at  Chicago,  Vienna  and  Munich,  and 
since  1899  has  been  professor  at  Northwestern 
University  and  a  notable  composer.     See  art. 

Orem,  Preston  Ware  (b.  Philadelphia,  ?  ), 
trained  in  Philadelphia,  has  been  teacher  and 
organist  there,  and  since  1900  editor  for  the 
Presser  Company.     See  art. 

O'SuUivan,  Denis  (San  Francisco,  1868- 
1908,  Columbus,  O.),  trained  in  San  Francisco, 
Florence,  London,  and  Paris,  from  1895  was 
a  popular  concert-  and  opera-bass  in  England 
and  from  1897  in  America.     See  Vol.  iii.  571-2. 

*Otterstrom,  Thorvald  (b.  Denmark,  1868), 
since  1892  has  worked  as  a  thoughtful  com- 
poser in  Chicago.     See  art. 

*Owst,  Wilberfoss  George  (b.  England, 
1861),  since  1893  has  been  organist  in  Balti- 
more, and  since  1903  also  teacher  at  the  College 
of  Music  in  Washington,  and  in  1897-1910  at 
the  Maryland  College  of  Music.  He  has 
written  the  cantata  '  The  Message  of  the 
Winds,'  the  melodrama  '  The  White  Ship,' 
church-music  and  other  vocal  music. 

*Pache,  Joseph  (b.  Silesia,  1861),  came  to 
America  in  1891,  for  a  time  was  conductor  in 
or  near  New  York,  and  since  1894  has  con- 


8:  1890-1900] 


CHRONOLOGICAL  REGISTER 


75 


ducted  the  Oratorio  Society  in  Baltimore  and 
other  societies.     See  art. 

Padelford,  Frederick  Morgan  (b.  Haverhill, 
Mass.,  1875),  since  1901  professor  of  English 
in  the  University  of  Washington,  while  fellow 
at  Yale  University  published  Old  English 
Musical  Terms,  Bonn,  1899,  an  exhaustive 
Btudy  from  Anglo-Saxon  sources,  with  glossary. 

*Paderewski,  Ignace  Jan  (b.  Russian  Po- 
land, 1860),  the  great  pianist,  was  a  frequent 
visitor  in  America  from  1891  till  1915,  when 
he  forsook  the  concert-stage  for  the  leadership 
of  the  new  Polish  Republic.  See  Vol.  iii. 
587-8,  and  art. 

Palliser,  Esther  (b.  Philadelphia,  1872), 
trained  as  operatic  soprano  in  Paris,  from 
1890  appeared  in  France  and  England  and  from 
about  1895  also  in  America.  She  lives  in 
London. 

*Panizza,  Ettore  (b.  Argentina,  1875),  studied 
at  Milan,  began  operatic  conducting  at  Rome 
in  1899,  in  1907-13  was  engaged  for  Italian 
operas  in  London,  and  since  1916  has  been 
conductor  at  La  Scala,  Milan.  He  has 
written  the  operas  '  II  Fidanzato  del  Mare  ' 
(1897),  '  Medio  Evo  Latino '  (1900)  and 
'Aurora'  (1908),  and  edited  a  translation  of 
Berlioz'  Instrumentation,  3  vols.,  1913. 

*Pasternack,  Josef  Alexander  (b.  Poland, 
1881),  came  to  America  in  1895,  from  1900 
played  viola  at  the  Metropolitan  Opera  House, 
from  1910  conducted  Sunday  concerts  there, 
in  1913-14  was  conductor  for  the  Century 
Opera  Co.,  and  since  1914  has  directed  summer 
opera  at  Ravinia  Park,  Chicago. 

*Paur,  Emil  (b.  Bukovina,  1855),  the  dis- 
tinguished violinist  and  conductor,  in  1893-98 
was  conductor  of  the  Boston  Symphony 
Orchestra,  in  1898-1902  of  the  New  York 
Philharmonic  Society  and  in  1899-1900  at 
the  Metropolitan  Opera  House  as  well,  in 
1904-10  led  the  Pittsburgh  Symphony  Or- 
chestra, and  then  returned  to  Berlin.  In 
1899-1902  he  directed  the  National  Conserva- 
tory in  New  York.     See  Vol.  iii.  658,  and  art. 

Penny,  George  Barlow  (b.  Haverstraw,  N. 
Y.,  1861),  trained  in  New  York  and  Chicago, 
from  1890  was  dean  of  Fine  Arts  in  the 
University  of  Kansas,  from  1903  dean  at 
Washburn  College,  Topeka,  also  in  1903-07 
city-organist,  in  1905-09  director  of  the  Fine 
Arts  Institute  and  leader  of  the  Oratorio 
Society,  and  since  1911  has  been  in  Rochester 
as"^head  of  the  Rochester  Conservatory, 
organist  and  professor  at  Rochester  University 
and   Theological    Seminary. 

Perkins,  David  Walton  (b.  Rome,  N.  Y., 
1847),  studied  in  New  York  and  Berlin, 
established  the  Sherwood  School  in  Chicago 
in  1897,  continuing  as  its  head  till  1901,  and 
since  1907  has  been  president  of  the  Musical 
College  there,  besides  work  as  critic.  He 
has  published  Piano- Technique,  piano-pieces 
and  songs,  and  edited  vocal  collections. 

*Peters,  Richard  Harry  (b.  England,  1867), 
was  organist  and  conductor  in  Canada  from 


about  1890,  for  ten  years  led  festivals  at  Spar- 
tanburg, S.  C,  which  he  first  organized,  and 
since  about  1910  has  been  organist  in  Balti- 
more, besides  conducting  a  choral  society  in 
York,  Pa.  He  has  written  pieces  for  organ, 
piano  and  voice,  the  cantata  '  St.  Cecilia's 
Day  '  and  the  oratorio  '  Elisha.'  Mus.D.  of 
Toronto  University  in  1892. 

Quarles,  James  Thomas  (b.  St.  Louis,  1877), 
studied  in  St.  Louis,  becoming  organist  there 
in  1893,  soon  establishing  himself  as  an 
accomplished  concert-player  and  conductor. 
Since  1913  he  has  been  organist  at  Cornell 
University.     See  art. 

Rains,  Leon  (b.  New  York,  1870),  trained 
at  New  York  and  Paris,  has  been  well  known  as 
operatic  bass  since  1897,  from  1899  chiefly  in 
connection  with  the  Dresden  Court  Opera. 

Ralston,  Fanny  Marion  (b.  St.  Louis,  1875), 
trained  in  St.  Louis  and  Boston,  has  been 
teacher  and  composer  since  1896  at  St.  Louis, 
in  girls'  schools  in  Virginia  and  Missouri,  from 
1908  music-director  at  Rockford  College  in 
Illinois,  and  recently  at  Wellesley  College. 
She  has  written  for  the  piano  with  ability. 

Raymond,  George  Lansing  (b.  Chicago, 
1839),  in  1893-1905  professor  of  aesthetics 
at  Princeton  University,  j  has  published  a 
striking  series  of  books  upon  the  nature  and 
relations  of  the  fine  arts,  including  Rhythm 
and  Harmony  in  Poetry  and  Music,  1895, 
which,  with  parts  of  other  writings,  displays 
an  original  and  profound  grasp  of  musical 
philosophy. 

Read,  Angelo  McCallum  (b.  near  St. 
Catherine's,  Ont.,  1854),  trained  at  Leipzig 
and  Vienna,  since  1894  has  been  teacher,  con- 
ductor and  composer  at  Buffalo.     See  art. 

Redman,  Harry  Newton  (b.  Mt.  Carmel, 
111.,  1869),  studied  in  Boston,  and  since  1897 
has  been  harmony-teacher  at  the  New  England 
Conservatory.  He  has  written  two  string- 
quartets,  two  violin-sonatas,  piano-pieces, 
songs,  etc. 

Reed,  Frank  LeFevre  (b.  Richmond,  Ind., 
1871),  trained  at  Ithaca,  Cincinnati  and  New 
York,  after  teaching  at  Fremont,  Neb.,  and 
at  Ithaca,  from  1906  was  at  the  Pennsylvania 
College  of  Music,  Meadville,  Pa.,  and  since 
1913  has  been  professor  at  the  University  of 
Texas,  also  conducting  the  municipal  chorus 
and  orchestra  of  Austin.  He  has  written 
orchestral  pieces  for  pageants  held  at  Austin, 
Tex.,  and  Auburn,  N.  Y.,  respectively. 

*Remy,  Alfred  (b.  Rhine  Prov.,  1870),  came 
to  New  York  in  youth,  graduated  from  the 
College  of  the  City  of  New  York  in  1890, 
later  pursuing  musical  studies,  from  1895  was 
teacher  and  critic,  and  since  1901  has  done  much 
editorial  work  of  superior  quality.     See  art. 

Renwick,  Llewellyn  Laraway  (b.  Ann 
Arbor,  Mich.,  1876),  studied  at  Ann  Arbor 
and  Paris,  from  1898  was  organist  and  teacher 
at  Ann  Arbor,  from  1903  organist  of  the 
American  Church  in  Paris,  and  since  1906 
has  taught  at  the  Detroit  Conservatory. 


76 


CHRONOLOGICAL   REGISTER 


[8:  1890-1900 


Reynolds,  Walter  Guernsey  (b.  Tioga,  Pa., 
1873),  studied  at  Mansfield,  Pa.,  and  in  Paris, 
began  teaching  in  1890,  from  1893  was  organist 
at  St.  Paul,  in  1897-99  at  Chippewa  Falls, 
Wis.,  from  1901  director  at  Doane  College  in 
Nebraska,  from  1905  organist  at  Tacoma,  also 
from  1906  professor  at  Whitworth  College  and 
choral  conductor,  and  since  1912  has  been 
organist  in  Seattle.  He  has  written  vocal  and 
organ-music. 

Riemenschneider,  Albert  (b.  Berea,  O., 
1878),  trained  at  Vienna  and  Paris,  since  1898 
has  been  head  of  the  music-department  of 
Baldwin-Wallace  College  in  Berea  and  also 
organist  and  conductor  in  Cleveland,  besides 
touring  as  concert-organist. 

Robinson,  Franklin  Whitman  (b.  New  York, 
1875) ,  graduated  from  the  College  of  the  City  of 
New  York,  studied  music  in  New  York  and 
became  organist  there.  Since  1908  he  has 
taught  at  the  Institute  of  Musical  Art,  de- 
veloping a  novel  system  of  ear-training,  be- 
sides in  1904-17  being  organist  in  Philadelphia. 
See  art. 

*Roeder,  Martin  (Prussia,  1851-1895,  Bos- 
ton) ,  the  noted  conductor  and  composer,  from 
1892  taught  singing  at  the  New  England  Con- 
servatory in  Boston.  See  Baker,  Diet,  of 
Musicians,  p.  776. 

Rogers,  Francis  (b.  Roxbury,  Mass.,  1870), 
graduated  from  Harvard  in  1891,  studied  in 
Boston,  New  York,  Florence  and  Paris,  and 
since  1898  has  been  a  popular  concert-baritone, 
occasionally  appearing  in  opera.  He  has  pub- 
lished Some  Famous  Singers  of  the  19th  Cen- 
tury, 1915.     He  lives  in  New  York. 

Royer,  Clarence  DeVaux  (b.  Lancaster,  Pa., 
1874-1919,  Lancaster),  trained  as  violinist  in 
Philadelphia,  Berlin  and  Brussels,  in  1897 
made  his  debut  in  Paris,  toured  extensively 
on  the  Continent  and  then  in  the  United 
States,  has  taught  in  Canada,  at  Raleigh, 
N.  C,  Ithaca,  N.  Y.,  and  since  1910  at  the 
New  York  School  of  Music  and  Art.     See  art. 

*Saar,  Louis  Victor  Franz  (b.  Holland,  1868), 
from  1894  was  accompanist  at  the  Metropoli- 
tan Opera  House  in  New  York,  from  1896 
theory-teacher  at  the  National  Conservatory, 
from  1898  at  the  College  of  Music,  besides 
much  work  as  critic  and  composer,  from  1906 
at  the  Cincinnati  College  of  Music,  and  since 
1917  at  the  Chicago  Musical  College.     See  art. 

*Sabin,  Wallace  Arthur  (b.  England,  1869), 
after  much  experience  as  organist  in  England, 
since  1894  has  been  a  prominent  player  at 
San  Francisco.     See  art. 

Salmon,  Alvah  Glover  (Southold,  N.  Y., 
1868-1917,  Boston),  trained  as  pianist  in 
Boston,  New  York,  Germany  and  Russia, 
from  about  1895  toured  in  the  United  States, 
specializing  in  Russian  music. 

Sanderson,  Lillian  (b.  Sheboygan,  Wis., 
1867),  studied  mainly  at  Frankfort,  from  1890 
appeared  as  concert-soprano  throughout 
Europe,  in  1899  married  the  painter  Richard 
Miiller  in  Dresden  and  has  since  lived  there. 


*Sansone,  Errico  (b.  Italy,  1859),  after 
long  experience  in  Italy  as  violinist,  conductor 
and  composer,  about  1890  came  to  Chicago, 
taught  at  the  Chicago  Conservatory  and  the 
Balatka  Academy,  was  for  a  time  concert- 
master  of  the  St.  Paul  Orchestra,  and  has 
played  much  in  chamber-ensembles.     See  art. 

*Saslavsky,  Alexander  (b.  Russia,  1876),  in 
1893  toured  in  Canada  as  violinist,  joined  the 
New  York  Sjnxiphony  Orchestra,  becoming 
concertmaster  in  1903,  was  active  in  1904  in 
the  formation  of  the  Russian  Symphony 
Orchestra,  since  1907  has  led  his  own  Quartet, 
and  has  toured  extensively.     See  art. 

Savage,  Henry  Wilson  (b.  Boston,  I860?),  a 
successful  real-estate  dealer  in  Boston,  since 
about  1895  has  been  notable  as  the  efficient 
promoter  of  enterprises  for  giving  opera  in 
English  throughout  the  United  States.    See  art. 

*Scharwenka,  Ludwig  Philipp  (Posen,  1847- 
1918,  Prussia),  the  distinguished  composer,  in 
1891-92  was  associated  with  his  brother  (see 
sec.  6)  in  the  latter's  Conservatory  in  New 
York.     See  Vol.  iv.   248-9,   and  art. 

*Scheel,  Fritz  (Lubeck,  1852-1907,  Phila- 
delphia), from  1869  conductor  in  Germany, 
in  1893-94  was  orchestral  conductor  in  Chicago, 
in  1895-98  in  San  Francisco,  and  then  in 
Philadelphia,  after  1900  being  leader  of  the 
Philadelphia  Orchestra.     See  art. 

Schenuit,  Alfons  William  (b.  Pittsburgh, 
1864),  studied  in  Baltimore  and  Philadelphia, 
and  since  1892  has  been  organist  of  the  Balti- 
more Cathedral  and  from  1897  founder  and 
director  of  the  Marjdand  College  of  Music. 

*Schoettle,  Gustav  (b.  Wlirtemberg,  1877), 
from  1894  taught  in  Kansas  City  and  directed 
choral  societies,  from  1910  was  professor  at 
the  State  University  of  Iowa,  in  1914-16 
organized  and  led  the  Des  Moines  Orchestra, 
in  1916-17  taught  at  Mitchell,  S.  D.,  and  since 
1917  has  been  director  of  the  Northwestern 
Conservatory  at  Minneapolis. 

Schofield,  Robert  LeRoy  (b.  Northfield, 
Minn.,  1876),  trained  at  Minneapolis,  Phila- 
delphia, New  York  and  Paris,  from  1891 
taught  in  Minnesota,  from  1901  at  the  Stetson 
University  in  Florida,  from  1903  in  Phila- 
delphia, from  1906  at  Whitman  College,  and 
since  1911  has  been  organist  and  director  at 
Seattle  and  Tacoma. 

*Schroeder,  Alwin  (b.  Saxony,  1855),  the 
eminent  'cellist,  joined  the  Boston  Symphony 
Orchestra  and  the  Kneisel  Quartet  in  1891, 
in  1907-08  was  in  Frankfort,  in  1910-12  in 
the  Hess-Schroeder  Quartet,  and  since  1915 
in  the  Margulies  Trio  and  the  Boston  String 
Quartet.     See  art. 

*Schuecker,  Edmund  (Austria,  1860-1911, 
Rhine  Prov.),  the  superior  harpist,  brother  of 
Heinrich  Schuecker  (see  sec.  7),  in  1891-1900 
played  in  the  Thomas  Orchestra  in  Chicago, 
in  1903-04  in  the  Pittsburgh  Orchestra,  in 
1904-09  in  the  Philadelphia  Orchestra,  and 
in  1909-10  at  the  Metropolitan  Opera  House. 
See  Baker,  Diet,  of  Musicians,  pp.  846-7. 


8:  1890-1900] 


CHRONOLOGICAL  REGISTER 


77 


\ 


*Schumann-Heink,  Ernestine,  nee  Rossler 
(b.  Bohemia,  1861),  the  famous  operatic 
soprano,  since  1898  has  been  almost  con- 
tinuously active  on  the  stage  and  in  concert 
in  America.     See  Vol.  iv.  38.3— i,  and  art. 

Schwartz,  George  Foss  (b.  Cincinnati,  1872), 
graduated  from  Wooster  University  in  1895, 
studied  at  Cincinnati,  Boston  and  Leipzig, 
from  1895  taught  in  New  York,  California 
and  Ohio,  and  since  1902  has  been  at  the  Uni- 
versity of  Illinois.  He  has  written  church- 
music  and  instruction-books  in  harmony. 

*Scotti,  Antonio  (b.  Italy,  1866),  the  eminent 
opera-baritone,  since  1899  has  sung  regularly 
at  the  Metropolitan  Opera  House.  From 
1890  he  had  previously  been  heard  in  South 
America.     See  Vol.  v.  666,  and  art. 

*Seashore,  Carl  Emil  (b.  Sweden,  1866), 
graduated  from  Gustavus  Adolphus  College 
in  1891,  took  graduate  study  at  Yale  Uni- 
versity (from  1895  assistant  in  the  psycholog- 
ical laboratory),  and  since  1897  has  been  at 
the  State  University  of  Iowa,  becoming  dean 
of  the  Graduate  College  in  1908.     See  art. 

Semmann,  Liborius  (b.  Grafton,  Wis.,  1873), 
studied  in  Milwaukee,  and  since  1896  has 
taught  there,  from  1899  in  the  Wisconsin 
Conservatory  and  since  1911  in  Marquette 
University,  where  he  is  dean  of  music.  He 
has  been  active  in  music-teachers'  associations 
and  in  1915  founded  an  association  of  presidents 
of  such  bodies. 

*Severn,  Edmund  (b.  England,  1862), 
brought  to  America  as  a  child,  trained  in 
Boston  and  Berlin,  from  1890  was  violinist 
in  Hartford,  Conn.,  and  Springfield,  Mass., 
also  conductor  of  choral  societies  in  Westfield 
and  Warren,  Mass.,  and  since  1897  has  been 
teacher  and  composer  in  New  York.     See  art. 

Sewall,  Maud  Gilchrist  (b.  Urbana,  O.,  1872), 
trained  as  violinist  abroad,  self-taught  in  or- 
gan and  theory,  since  1896  has  been  organist 
in  Washington,  giving  many  lecture-recitals. 

Shapleigh,  Bertram  (b.  Boston,  1871), 
studied  in  Boston,  not  confining  himself  to 
music,  in  1898-1915  lived  in  England,  engaged 
in  composition  and  critical  work,  and  now 
lives  in  New  York.     See  art. 

Shepherd,  Arthur  (b.  Paris,  Ida.,  1880), 
studied  in  Boston,  from  1897  was  teacher  and 
conductor  in  Salt  Lake  City,  and  since  1908 
has  been  in  the  faculty  of  the  New  England 
Conservatory  in  Boston.     See  art. 

Singleton,  Esther  (b.  Baltimore,  ?  ),  has 
published  a  variety  of  popular  handbooks  in 
many  fields,  including  A  Guide  to  the  Opera, 
1899,  1909,  The  Orchestra  and  its  Instruments, 
1917,  translations  from  Lavignac  under  the 
titles  The  Music-Dramas  of  Richard  Wagner, 
1898,  and  Musical  Education,  1903,  and  wrote 
on  American  music  for  Lavignac's  Encyclo- 
pedie  de  la  Musique,  1915. 

Skilton,  Charles  Sanford  (b.  Northampton, 
Mass.,  1868),  graduated  from  Yale  in  1889, 
studied  in  New  York  and  Berlin,  from  1893 
was  teacher  and  conductor  at  Salem,  N.  C, 


from  1897  at  the  State  Normal  School,  Tren- 
ton, N.  J.,  and  since  1903  has  been  professor 
at  the  University  of  Kansas,  until  1915  being 
dean  of  the  School  of  Fine  Arts.     See  art. 

Sleeper,  Henry  Dike  (b.  Patten,  Me.,  1865), 
studied  mainly  in  Boston,  from  1891  taught  at 
Beloit  College,  in  1894-95  at  Georgetown,  Ky., 
from  1895  at  the  University  of  Wisconsin,  and 
since  1898  has  been  professor  at  Smith  College 
(director  from  1904).     See  art. 

Sohn,  Joseph  (b.  New  York,  1867),  gradu- 
ated from  the  College  of  the  City  of  New 
York,  studied  at  Berlin,  has  been  long  a  writer 
on  musical  subjects  in  New  York  and  piano- 
teacher  at  the  Metropolitan  College  of  Music. 
He  has  published  Robert  Schumann,  1896, 
Lessons  of  the  Opera,  1903,  Music  in  America 
and  Abroad,  1904,  Joseph  Joachim,  1904, 
Opera  in  New  York,  1907,  The  Mission  of 
Richard  Wagner,  1910,  besides  many  articles. 

Sonneck,  Oscar  George  Theodore  (b. 
Jersey  City,  1873),  received  his  whole  educa- 
tion in  Germany,  studying  music  at  Munich 
and  Frankfort,  began  research-work  in  Ger- 
many and  Italy,  from  1902  was  head  of  the 
Music  Division  of  the  Library  of  Congress, 
becoming  famous  as  a  musicologist,  and  since 
1917  has  been  with  the  Schirmer  publishing- 
house  in  New  York,  editing  '  The  Musical 
Quarterly'  from  1915.     See  art. 

Spargur,  John  Mitchell  (b.  Cincinnati,  1879), 
a  violinist  from  boyhood,  from  1894  was  con- 
ductor for  the  Ben  Greet  Players,  from  1901 
played  in  the  New  York  Philharmonic  and 
Russian  Orchestras,  and  in  1911  founded  the 
Philharmonic  Orchestra  at  Seattle. 

Speaks,  Oley  (b.  Canal  Winchester,  O., 
1876),  trained  in  New  York,  since  1898  has 
been  known  there  as  a  church-  and  concert-bar- 
itone and  composer  of  effective  songs. 

Spencer,  Allen  Hervey  (b.  Fairhaven,  Vt., 
1870),  studied  in  Rochester  and  Chicago  and 
since  1892  has  taught  at  the  American  Con- 
servatory in  Chicago,  appearing  extensively  as 
concert-pianist.     See  art. 

*Spielter,  Hermann  (b.  Bremen,  1860) 
from  1894  was  conductor  of  the  Beethoven 
Mannerchor  in  New  York,  in  1897-1911 
theory-teacher  at  the  College  of  Music,  and 
since  1915  at  the  Von  Ende  School.  He  has 
written  the  operetta  Die  Rajahsbraut  (1910), 
many  cantatas  and  choruses,  instrumental 
works,  etc.  For  list,  see  Baker,  Diet,  of 
Musicians,  p.  894. 

Spiering,  Theodore  (b.  St.  Louis,  1871), 
trained  as  violinist  in  St.  Louis,  Cincinnati 
and  Berlin,  in  1892-96  played  in  the  Thomas 
Orchestra  in  Chicago,  in  1893-1905  toured 
with  his  own  Quartet,  in  1898-1905  taught  at 
the  Chicago  Conservatory,  his  own  school  and 
the  Chicago  Musical  College,  in  1906-09  and 
1911-14  was  teaching  and  touring  in  Europe, 
in  1909-11  was  concertmaster  of  the  New 
York  Philharmonic  Society  and  its  conductor 
in  1911  (taking  Mahler's  place),  and  since 
1914  has  taught  in  New  York.     See  art. 


78 


CHRONOLOGICAL  REGISTER 


[8:  1890-1900 


Spross,  Charles  Gilbert  (b.  Poughkeepsie, 
N.  Y.,  1874),  studied  at  Poughkeepsie  and 
New  York,  has  been  organist  since  1891  in 
Poughkeepsie,  Paterson,  N.  J.,  and  New  York, 
and  is  an  eminent  accompanist.     See  art. 

Spry,  Walter  (b.  Chicago,  1868),  trained  at 
Chicago,  Vienna,  Berlin  and  Paris,  from  1897 
was  director  of  the  Quincy  (III.)  Conservatory, 
from  1900  editor  of  Summy's  '  Music  Review,' 
in  1905-17  head  of  his  own  school  in  Chicago, 
and  is  now  teacher  in  the  Columbia  School 
there.     See  art. 

*Stahlberg,  Frederick  (b.  Prussia,  1877),  the 
violinist,  in  1899  joined  the  Pittsburgh  Or- 
chestra, and  since  1908  has  been  in  the  New 
York  Philharmonic  Society,  from  1912  as- 
sistant-conductor. He  has  written  an  opera, 
two  symphonies,  several  orchestral  suites,  etc. 

*Stasny,  Karl  Richard  (b.  Hesse,  1855), 
after  much  experience  as  pianist  and  teacher, 
since  1891  has  been  on  the  staff  of  the  New 
England  Conservatory  in  Boston. 

Stebbins,  George  Waring  (b.  East  Carlton, 
N.  Y.,  1869),  trained  in  Brooklyn,  New  York, 
Paris  and  London,  since  1893  has  been  organist, 
conductor  and  teacher  in  Brooklyn.     See  art. 

*Steindel,  Bruno  (b.  Saxony,  1866),  having 
been  'cellist  in  Berlin,  in  1892-1918  was  first 
'cellist  in  the  Chicago  Orchestra. 

*Stock,  Frederick  A.  [Friedrich  Wilhelm 
August]  (b.  Rhine  Prov.,  1872),  since  1895 
has  been  in  the  Chicago  Orchestra,  first  as 
violinist,  from  1901  as  assistant  to  Thomas,  and 
since  1905  his  successor  as  conductor.  See 
Vol.  iv.  698,  and  art. 

Stoeckel,  Carl  (b.  New  Haven,  Conn., 
1858),  son  of  G.  J.  Stoeckel  (see  sec.  4),  since 
1899  has  been  patron  of  the  festivals  at  Nor- 
folk, Conn.,  of  the  Litchfield  County  Choral 
Union. 

Strong,  Susan  (b.  Brooklyn,  1875?),  trained 
as  opera-soprano  in  New  York  and  London, 
in  1895-96  appeared  abroad,  from  1896  in 
New  York,  and  since  1900  has  sung  in  London. 

*Strube,  Gustav  (b.  Anhalt,  1867),  in  1890 
joined  the  Boston  Symphony  Orchestra  as 
violinist,  acting  also  as  conductor  there  and  in 
Worcester,  and  since  1913  has  taught  com- 
position at  the  Peabody  Conservatory  in 
Baltimore  and  since  1916  has  conducted  the 
Baltimore  Orchestra.     See  art. 

Sutro,  Rose  Laura  (b.  Baltimore,  1870)  and 
Sutro,  Ottilie  (b.  Baltimore  1872),  trained 
as  pianists  in  Baltimore  and  Berlin,  since  1893 
have  been  noted  for  two-piano  performances, 
first  in  Germany  and  England,  from  1894  in 
America,  and  in  1910-15  in  Europe  again. 
See  Baker,  Diet,  of  Musicians,  p.  929. 

Swift,  Samuel  (Newark,  N.  J.,  1873-1914, 
New  York),  graduated  from  the  University  of 
Pennsylvania  in  1894,  from  1891  was  organist 
in  Wilmington,  Del.,  and  from  1894  critic  and 
editor  in  New  York.     See  art. 

*Szumowska,  Antoinette  (b.  Poland,  1868), 
the  concert-pianist,  first  appeared  in  Boston 
and  New  York  in  1895,  in  1896  married  Josef 


Adamowski  (see  sec.  7)  and  with  him  and  his 
brother  (see  sec.  6)  formed  the  Adamowski 
Trio,  with  headquarters  in  Boston.     See  art. 

Talbot,  Howard  [last  name  originally  Mun- 
kittrick]  (b.  Yonkers,  N.  Y.,  1865),  has  lived 
in  England  since  childhood,  developing  from 
1894  into  a  successful  composer  of  comic 
operettas.  For  list  see  Baker,  Diet,  of  Mu- 
sicians, p.  931. 

*Theodorini,  Helena  (b.  Rumania,  1862), 
the  operatic  soprano,  was  visiting  artist  in 
Buenos  Aires  and  Rio  de  Janeiro  before  1900, 
about  1910  settled  in  the  former  as  teacher, 
and  since  1916  has  lived  in  New  York. 

Thompson,  John  Winter  (b.  Leland,  Mich., 
1867),  trained  at  Oberlin  and  Leipzig,  since 
1890  has  been  teacher  of  organ  and  theory  at 
Knox  College,  Galesburg,  111.  He  has  pub- 
lished anthems  and  organ-pieces.  Mus.  D.  of 
Knox  College  in  1909. 

*Towers,  John  (b.  England,  1836),  from 
1890  was  organist  and  teacher  in  Indianapolis, 
from  1892  at  the  Utica  Conservatory,  from 
about  1895  in  New  York,  from  1904  at  the 
Forest  Park  University  and  the  Kroeger 
School  in  St.  Louis,  and  since  1915  has  been 
in  Philadelphia.  He  has  published  a  cata- 
logue of   28,000   operas   (1910). 

*Troostwyk,  Isidore  (b.  Holland,  1862),  an 
expert  violinist,  came  to  America  in  1890,  and 
since  1895  has  taught  in  the  Yale  School  of 
Music,  becoming  concertmaster  of  the  New 
Haven  Orchestra  and  in  1907  founder  of  the 
New  Haven  String  Orchestra.     See  art. 

Turner,  Arthur  Henry  (b.  Meriden,  Conn., 
1873),  trained  as  baritone  and  organist  in  New 
York  and  Paris,  has  been  organist  in  Meriden 
and  from  1900  in  Springfield,  Mass.,  also  con- 
ducting choral  clubs,  giving  recitals  and  com- 
posing songs. 

Tyler,  Abram  Ray  (b.  Brooklyn,  1868), 
trained  in  New  York,  from  about  1895  was 
organist  there  and  in  Brooklyn,  from  1902  was 
professor  at  Beloit  College  in  Wisconsin,  and 
since  1911  has  been  organist  at  Detroit.  He 
has  played  often  in  recital  and  has  written  a 
piano-trio,  a  violin-sonata,  anthems  and  other 
choral  music. 

*Valle  Riestra,  Jose  (b.  Peru,  1859),  trained 
mainly  in  London  and  Paris,  has  become 
notable  as  a  composer  seeking  to  preserve 
themes  from  Aztec  music.  Since  1909  he 
has  been  professor  in  the  Academia  Nacional 
de  Musica  in  Lima.  He  has  written  the  operas 
'  Ollanta  '  (1901),  '  Atahualpa,'  'Las  Rosas 
de  Jamaica,'  a  requiem,  pieces  for  orchestra, 
choruses  and  songs. 

Van  Dresser,  Marcia  (b.  Memphis,  Tenn., 
1880),  studied  in  Chicago  and  later  in  Munich 
and  Paris,  from  1898  sang  in  light  opera  and 
in  minor  parts  in  grand  opera,  from  1904 
studied  abroad,  from  1907  appeared  as  soprano 
in  many  German  cities,  and  since  1914  has 
been  active  again  in  America. 

Van  Hoose,  Ellison  (b.  Murfreesboro,  Tenn., 
1869),  trained  as  operatic  tenor  at  New  York, 


8:  1800-1900] 


CHRONOLOGICAL  REGISTER 


79 


Paris,  Rome  and  London,  has  appeared  widely 
in  America  and  Europe  since  1897.     See  art. 

Virgil,  Almon  Elincaid,  of  New  York,  in  1892 
first  patented  his  Practice  Clavier,  which  was 
widely  adopted  in  America  and  England  as  a 
means  of  manual  training.     See  Vol.  ii.  266. 

*Volpe,  Arnold  (b.  Russia,  1869),  came  to 
New  York  in  1898,  where  in  1902  he  organized 
the  Young  Men's  Symphony  Orchestra,  and 
since  1910  has  led  other  valuable  organiza- 
tions.    See  art. 

Walker,  Edyth  (b.  Hopewell,  N.  Y.,  1870), 
studied  mostly  at  Dresden,  first  appeared  as 
operatic  contralto  in  1895  at  Vienna,  singing 
at  the  Hofoper  for  several  years,  from  1903 
was  at  the  Metropolitan  Opera  House  in  New 
York,  from  1906  sang  chiefly  at  Berlin  and 
Hamburg,  and  since  1912  at  Munich. 

Ward,  Frank  Edwin  (b.  Wysox,  Pa.,  1872), 
studied  in  Washington  and  New  York,  from 
1891  was  organist  at  Washington,  in  1900-05 
at  Rye,  N.  Y.,  in  1902-13  at  Columbia  Uni- 
versity, and  since  1906  at  Holy  Trinity,  New 
York.     See  art. 

Watt,  Charles  E.  (b.  Lima,  O.,  ?  ),  studied 
in  Chicago,  in  1894  founded  the  Chicago  Piano 
College  and  in  1908  the  periodical  '  Music 
News,'  of  which  he  is  proprietor  and  editor. 

■^Weidig,  Adolf  (b.  Hamburg,  1867),  in  1892 
came  as  violinist  in  the  Chicago  Symphony 
Orchestra  and  viola  in  the  Spiering  Quartet. 
Since  1898  he  has  been  one  of  the  managers 
of  the  American  Conservatory  and  a  fertile 
composer.     See  art. 

*Weisbach,  Harry  (b.  Russia,  1886),  brought 
to  New  York  as  a  child,  played  in  public  in 
1896,  studied  in  New  York,  Brussels  and 
Berlin,  toured  in  Europe  and  America,  and 
since  1912  has  been  coacertmaster  of  the 
Chicago  Symphony  Orchestra. 

*WetzIer,  Hermann  Hans  (b.  Hesse,  1870), 
came  to  New  York  in  1892,  from  1897  was 
organist  of  Trinity  Church,  from  1902  gave 
orchestral  concerts,  and  since  1905  has  been 
conductor  and  composer  in  Germany.     See  art. 

Whitmer,  Thomas  Carl  (b.  Altoona,  Pa., 
1873),  studied  in  Philadelphia  and  New  York, 
in  1898-99  was  organist  at  Harrisburg,  from 
1899  taught  at  Stephens  College  in  Missouri, 
from  1909  at  the  College  for  Women  in  Pitts- 
burgh, from  1916  at  the  Pittsburgh  Musical 
Institute,  and  since  1919  privately.     See  art. 

Whittlesey,  Walter  R.  (b.  Hartford,  Conn., 
1861),  from  the  opening  of  the  new  building 


of  the  Library  of  Congress  in  1897  had  charge 
of  organizing  the  Music  Division,  after  1902 
was  Sonneck's  assistant,  and  since  1917  has 
been  acting  as  his  successor.  They  collabo- 
rated on  The  First  Editions  of  Stephen  C. 
Foster,  1915,  and  he  has  also  written  Music 
in  the  South,  1860-69,  and  Negro  Music,  not 
yet  published. 

Williams,  Harry  Evan  (Mineral  Ridge,  O., 
1867-1918,  Akron,  O.),  studied  in  Cleveland, 
from  1891  appeared  as  concert-tenor,  and 
speedily  became  famous.     See  art. 

Witherspoon,  Herbert  (b.  Buffalo,  1873), 
graduated  from  Yale  in  1895,  studied  there 
and  later  in  New  York,  Paris,  London  and 
Berlin,  has  been  noted  since  1897  as  a  concert- 
bass  and  since  1898  also  in  opera,  in  1908-16 
at  the  Metropolitan  Opera  House. 

*Wrightson,  Herbert  James  (b.  England, 
1869),  came  to  Chicago  in  1897  as  teacher  and 
critic,  in  1908-09  taught  at  the  Philadelphia 
Musical  Academy,  and  in  1911-14  at  the  Sher- 
wood Music  School  in  Chicago.  He  has 
written  four  organ-sonatas,  an  organ-concerto, 
a  violin-sonata,  piano-pieces,  songs,  etc. 

York,  Francis  Lodowick  (b.  Ontonagon, 
Mich.,  1861),  graduated  from  the  University 
of  Michigan]  in  1882,  studied  music  there,  at 
Detroit  and  in  Paris,  from  1892  taught  at  the 
University  of  Michigan,  from  1896  at  the  State 
Normal  School,  Ypsilanti,  and  since  1902  has 
been  head  of  the  Detroit  Conservatory  and 
organist.     See  art. 

Zahm,  John  Augustine  (b.  New  Lexington, 
O.,  1851),  a  member  of  the  Order  of  the  Holy 
Cross  (designated  to  scientific  studies),  while 
professor  of  physics  at  the  University  of  Notre 
Dame  published  Sound  and  Music,  1892,  a 
notably  clear  and  comprehensive  handbook 
of  musical  acoustics.  For  other  works,  see 
Who's  Who  in  America. 

Zay,  William  Henri  (b.  Findlay,  0.,  1869), 
studied  at  Cleveland  and  later  at  London, 
from  1890  taught  singing  at  Cleveland,  from 
1895  was  in  London  as  voice-specialist,  and 
since  1917  has  been  in  New  York.  He  has 
published  The  Practical  Psychology  of  Voice 
and  of  Life,  1918,  and  has  written  many 
songs. 

Zeckwer,  Camille  (b.  Philadelphia,  1875), 
son  of  Richard  Zeckwer  (see  sec.  6),  studied  in 
Philadelphia,  New  York  and  Berlin,  and  since 
before  1900  has  been  a  noted  pianist,  teacher 
and  composer  in  Philadelphia.     See  art. 


80  HISTORICAL  INTRODUCTION 

THE    OPENING    OF   THE   TWENTIETH   CENTURY 

It  may  seem  that  there  is  no  evident  reason  for  breaking  into  two  parts  the 
half-century  between  the  end  of  the  Civil  War  in  1865  and  the  outbreak  of  the 
World  War  in  1914.  During  this  half-century  the  United  States  and  Canada 
moved  forward  continuously  along  lines  of  development  that  did  not  essentially 
change  except  in  momentum  and  acceleration.  Because  of  this  apparent  con- 
tinuity certain  statements  in  earlier  paragraphs  were  allowed  to  range  across  the 
hypothetical  line  dividing  the  19th  from  the  20th  century. 

But,  on  the  other  hand,  especially  as  concerns  the  United  States,  the  two 
recent  decades  are  distinct  as  a  historical  period.  The  date  1900  stands  out  as  a 
convenient  landmark  for  a  significant  alteration  in  the  world-relations  of  both  the 
United  States  and  Canada  —  an  alteration  that  brought  with  it  important  shifts 
of  internal  life  and  consciousness.  From  the  Civil  War  onward  was  a  time  of 
national  consolidation  on  an  unexampled  scale  in  both  countries.  After  1900  this 
became  transformed  into  a  time  of  international  outlook  and  adjustment,  also 
unexampled  and  as  yet  of  sohiewhat  unpredictable  results.  Regarding  this  a  few 
illustrative  points  may  well  be  cited. 

On  the  commercial  side  it  is  enough  to  note  that  in  1900  for  the  first  time  the 
annual  foreign  trade  of  the  United  States  crossed  the  two-billion  mark.  In  1910 
it  was  over  three  billions,  in  1913  over  four,  and  in  1919  over  ten.  The  average 
volume  of  exports  in  the  twenty  years  since  1900  has  been  more  than  seven  times 
what  it  was  in  the  twenty  years  before  1900.  Not  only  has  the  volume  thus  ex- 
panded, but  the  character  of  this  vast  international  commerce  has  become  infinitely 
diversified  and  its  geographical  scope  has  been  extended  into  all  corners  of  the 
earth.  Thus  America  has  recently  become  linked  by  the  cords  of  trade,  as  never 
before,  with  all  lands  and  peoples. 

On  the  diplomatic  side,  also,  the  years  just  before  and  after  1900  set  the 
United  States  into  relations  with  other  nations  that  were  unprecedented.  In 
1898  occurred  the  brief,  but  momentous,  contest  with  Spain,  leading  to  the  acquisi- 
tion of  the  Philippines  and  Porto  Rico  and  indirectly  to  that  of  the  Hawaiian 
Islands.  In  1896  had  begun  the  spectacular  exploitation  of  Alaska,  and  in  1904 
the  cutting  of  the  Panama  Canal  was  undertaken  in  earnest  (opened  to  trade  in 
1914).  In  1900-01  came  the  Boxer  Uprising  in  China  and  in  1904-05  the  Russo- 
Japanese  War,  in  the  progress  and  settlement  of  both  of  which  the  United  States 
was  forced  to  bear  a  part.  These  events,  with  their  political  involutions,  though 
mostly  located  in  the  region  of  the  Pacific  Ocean,  really  served  to  push  the  United 
States  into  intimate  and  vital  connection  with  world-politics  and  world-tend- 
encies—  a  connection  that  rapidly  became  closer  until  crowned  in  1917  by  its 
impassioned  union  with  the  Allies  in  their  struggle  against  German  imperialism. 
Thus  the  opening  decades  of  the  20th  century  widened  the  horizon  and  altered 
the  perspective  of  America's  thought  and  sentiment  beyond  anything  previously 
experienced.  That  all  this  is  to  have  profound  reactions  upon  its  future  culture 
cannot  be  doubted. 


THE  OPENING  OF  THE  TWENTIETH  CENTURY  81 

Another  aspect  of  international  relationship  is  suggested  by  the  statistics  of 
immigration.  In  1900  the  United  States  proper  had  a  population  of  about  79 
millions,  in  1910  about  92  millions,  and  in  1920  presumably  about  105  millions  — 
an  increase  per  decade  of  about  15  per  cent.  Of  this  increase  immigration  supplied 
a  larger  proportion  than  ever  before.  In  1903-14  the  inflow  was  at  the  rate  of 
almost  a  million  per  year.  Seven-eighths  of  the  14^  millions  of  aliens  received 
in  1900-19  came  from  eight  countries  —  Italy  and  Austria-Hungary,  each  nearly 
22  per  cent ;  Russia,  18  per  cent ;  Great  Britain,  over  9  per  cent ;  Canada,  about 
5^  per  cent ;  Scandinavia,  5  per  cent ;  Germany,  3^  per  cent ;  and  Greece,  about 
2|  per  cent.  The  balance  of  derivation  is  thus  in  sharp  contrast  with  all  earlier 
records,  the  proportion  from  Italy,  Austria  and  Russia  being  unexampled.  This 
fact  —  with  many  lesser  points  that  cannot  here  be  enumerated  —  indicates  that 
America's  internationalization  since  1900  was  not  only  in  external  relations,  but 
in  internal  elements.  Its  foreign-born  population  was  larger  than  ever,  and  the 
derivation  of  that  population  was  indefinitely  more  diversified.  It  is  true  that  this 
portentous  fact  has  seemed  to  many  depressing,  especially  since  they  feel  that  just 
when  American  society  was  gaining  a  wider  and  nobler  vision  over  the  world  at 
large  its  lower  strata  were  being  made  heavy  and  inert,  if  nothing  worse,  by  the 
influx  of  multitudes  who  were  ignorant  and  clannish,  uninspired  by  anything 
but  greed.  In  the  19th  century  it  is  known  that  the  United  States  was  greatly 
enriched  by  the  flood  of  immigration,  but  this  has  seemed  to  some  not  to  be  the 
case  with  the  new  flood  with  which  the  20th  century  began.  Acknowledging  all 
the  difficulties  of  assimilation  that  now  exist,  however,  it  is  a  fair  question 
whether  in  the  long  run  America  is  not  to  be  infinitely  enriched  again  by  the  fresh 
racial  elements  that  are  being  poured  into  its  composite  life.  Particularly  is  this 
likely  on  the  side  of  its  imaginative  and  artistic  culture,  since  the  new  strains  of 
sentiment  and  tradition  are  undoubtedly  intensely  strong  and  eager.  There  are 
already  signs  that  this  recent  impulse  is  to  have  musical  consequences. 

Here  is  the  appropriate  place  to  remark  upon  an  intricate  problem  in  all  Ameri- 
can history,  particularly  in  its  cultural  history,  namely,  the  part  played  by  those 
who  are  Americans  only  by  migration  and  adoption.  In  the  field  of  music  it  is 
evident  that  since  about  1840  all  progress  has  been  affected  —  often  dominated  — 
by  the  influence  of  those  who  were  foreigners  by  birth  and  training.  This  factor 
in  the  historic  equation  is  in  America  much  greater  than  in  any  other  musical 
country.  It  has  always  been  natural  for  America  to  welcome  the  foreigner, 
whether  visitor  or  settler.  When  native  musicians  were  few  and  inexperienced, 
the  coming  of  seasoned  artists  from  abroad  was  in  every  way  fruitful.  So  many  of 
them  proved  teachers  and  leaders  of  power  that  a  tradition  formed  itself  that  the 
places  of  most  distinction,  the  ranks  of  organizations  like  orchestras  and  opera- 
companies,  and,  of  course,  the  items  upon  standard  programs  for  performance, 
should  all  be  given  to  them.  Inspection  of  the  lists  given  in  the  middle  sections 
of  the  Chronological  Register  accompanying  this  Introduction  suggests  ample 
reason  why  this  tradition  should  have  become  established.  Later  sections  of  the 
Register  indicate  how  the  proportion  and  importance  of  native  musicians  have 


82  HISTORICAL  INTRODUCTION 

steadily  increased.  In  view  of  this  advance  the  persistence  of  the  old  tradition 
in  favor  of  music  and  musicians  from  overseas  has  since  1900  become  increasingly 
unfortunate. 

It  needs  to  be  remembered,  however,  that  alien-born  musicians  are  not  all  of 
one  class.  Some  of  them,  no  doubt,  are  mere  visitors  —  even  when  they  prolong 
their  stay  for  several  years  —  transient  exploiters  of  this  among  many  fields  of 
professional  eclat  and  profit.  Again,  some  settle  permanently,  and  even  acquire 
technical  citizenship,  without  really  losing  their  exotic  quality  —  especially 
in  the  larger  cities  —  so  that,  though  they  are  in  America,  they  are  not  properly 
of  it.  But  the  larger  number  in  their  transplanting  become  so  firmly  rooted  and 
acclimated  that  they  are  not  essentially  diverse  from  many  native-born  musicians 
who  have  had  training  abroad.  They  must  be  counted  as  in  a  sense  true  Ameri- 
cans, just  as  the  settlers  of  the  18th  century  were.  Many  of  them  at  the  time  of 
their  coming  are  either  older  than  their  immediate  American  associates  or  have 
had  experience  of  more  breadth  and  intensity.  Hence,  so  far  as  they  are  artists 
of  a  'picked'  class,  it  is  not  strange  that  they  step  into  prominence.  In  every 
period  the  inclusion  of  such  forces  in  the  totality  of  American  musical  life  is  all 
to  the  good,  even  though  they  add  to  the  complexity  of  its  cosmopolitan  character. 

Since  before  1850  American  students  have  tended  to  seek  much  of  their  pro- 
fessional training  in  Europe.  Thus  the  American  response  to  the  opening  of  the 
Leipzig  Conservatory  was  notably  hearty,  as  later  to  the  beckoning  of  other  Ger- 
man schools.  Still  later  Paris,  London,  Vienna  and  certain  Italian  cities  were 
also  sought.  Thus  grew  up  a  tradition  of  the  necessity  of  foreign  study  if  one  were 
to  be  a  master.  The  force  of  this  has  now  been  much  diminished,  owing  to  the 
obvious  excellence  of  educational  advantages  at  home.  At  least,  it  no  longer 
works  hardship.  But  while  it  lasted,  like  the  other  tradition  about  the  superiority 
of  foreign-born  artists,  it  played  its  part  in  keeping  the  standards  and  trend  of 
music  in  America  singularly  cosmopolitan  —  not  strictly  indigenous,  but  com- 
piled from  many  sources. 

Here  comes  in  a  question  that  has  been  more  urgent  since  1900  than  before  — 
the  question  as  to  an  American  'type'  or  'school'  of  composition.  The  question 
is  by  no  means  new,  but  its  serious  discussion  is  comparatively  recent.  The 
claim  has  been  pressed  that  here,  as  in  many  other  countries,  a  'national'  type 
should  rest  upon  something  in  the  nature  of  folk-music.  Among  several  possible 
illustrations  of  such  music  two  have  been  specially  considered. 

On  the  one  hand,  the  songs  of  the  Negroes  of  the  South  have  been  empha- 
sized. Thoughtful  attention  to  these  began  at  the  time  of  the  Civil  War  and  es- 
pecially about  1870,  when  the  original  'Jubilee  Singers'  were  heard  at  home  and 
abroad.  Of  course,  the  picturesque  sentiment  in  such  melodies  had  been  felt 
long  before  and  artistically  used,  as,  for  example,  by  Foster  as  early  as  1845. 
But  in  1885  Negro  themes  were  put  to  orchestral  use  by  Chad  wick  and  in  1894 
more  ostentatiously  by  Dvorak.  Since  then  the  latent  richness  of  this  vein  of 
melodic  and  rhythmic  ore  has  been  diligently  searched  out  by  many  composers, 
with  results  most  interesting  and  often  impressive. 


THE  OPENING  OF  THE  TWENTIETH  CENTURY 


^ 


On  the  other  hand,  the  songs  of  the  Indians  of  the  West  have  also  been  em- 
phasized. Attention  to  these  was  first  called  by  the  original  study  of  Theodore 
Baker  in  1882  —  a  study  which  in  part  inspired  the  drafting  of  MacDo well's 
'Indian  Suite'  some  ten  years  later.  Since  1901  the  value  of  this  source  has  been 
valiantly  upheld  by  a  circle  of  enthusiasts  led  by  Arthur  Farwell.  The  result  is 
that  this  vein,  too,  has  been  worked  with  great  ability  and  increasing  tangible  re- 
sults. It  has  the  obvious  advantage  of  bringing  into  view  not  only  tonal  patterns, 
but  the  literary  or  dramatic  quality  inherent  in  Indian  fantasy  and  legend. 

Highly  characteristic  and  fascinating  as  both  of  these  sources  undoubtedly  are, 
neither  of  them  is  fully  expressive  of  America  as  a  whole,  of  its  cosmopolitan  deri- 
vation, its  kaleidoscopic  history,  or  its  essentially  unique  national  spirit.  Hence 
there  has  been  more  and  more  an  instinctive  search  for  musical  means  to  embody 
impressions  from  the  physical  environment  of  American  life,  from  the  reaction 
upon  the  imagination  of  its  historic  epochs,  from  reflections  over  the  motives  and 
traits  of  its  characteristic  spiritual  nature.  It  is  not  unlikely  that  this  last  holds 
special  promise  for  the  future. 


The  notes  in  earlier  parts  of  this  Introduction  about  the  growth  of  cities 
should  now  be  extended  to  the  time  after  1900.  Final  data  from  the  census 
of  1920  are  not  yet  available,  but  the  salient  facts  are  clear  from  the  pre- 
liminary reports  that  have  been  made.  In  1900  there  were  in  the  United 
States  36  cities  with  100,000  inhabitants  or  more ;  in  1910  there  were  50 
such;  and  in  1920  there  were  about  70,  with  a  total  estimated  population  of 
about  30  miUions.  It  will  be  useful  to  name  about  fifty  of  them,  arranged 
by  sections  and  with  their  estimated  size  in  1920  stated  in  round  thousands : 


Eastern  States 
Boston,  Mass.  .  . 
Providence,  R.  I.  . 
Worcester,  Mass.  . 
New  Haven,  Conn. 
Bridgeport,  Conn. 
Hartford,  Conn.  . 
Springfield,  Mass. 

Middle  States 
New  York,  N.  Y, 
Philadelphia,  Pa. 
Baltimore,  Md. 
Pittsburgh,  Pa. 
Buffalo,  N.  Y.  . 
Washington,  D.  C 
Newark,  N.  J.  . 
Jersey  City,  N.  J. 
Rochester,  N.  Y. 
Syracuse,  N.  Y. 
Scranton,  Pa.    . 
Paterson,  N.  J. 


SOTTTHERN    STATES 

New  Orleans,  La.  . 
Louisville,  Ky. 
Atlanta,  Ga. 
Birmingham,  Ala. 
Richmond,  Va. 
Memphis,  Tenn.    . 


748  (000) 

238 

180 

163 

143 

138 

129 


5621 
1823 
734 
588 
507 
438 
414 
298 
296 
172 
138 
136 


387 
235 
201 
178 
172 
162 


Central  States 
Chicago,  111.  . 
Detroit,  Mich. 
Cleveland,  O.. 
St.  Louis,  Mo. 
Milwaukee,  Wis. 
Cincinnati,  O. 
Minneapolis,  Minn. 
Kansas  City,  Mo. 
Indianapolis,  Ind. 
Toledo,  O.      .     . 
Columbus,  O. 
St.  Paul,  Minn. 
Akron,  O. .     .     . 
Dayton,  O.     .     . 
Grand  Rapids,  Mich. 
Youngstown,  O. 

Western  States 
Denver,  Colo.  . 
Omaha,  Neb..  . 
San  Antonio,  Tex. 
Dallas,  Tex.  .  . 
Houston,  Tex.  . 
Salt  Lake  City,  Utah 

Pacific  States 
Los  Angeles,  Cal.  . 
San  Francisco,  Cal. 
Seattle,  Wash.  .  . 
Portland,  Ore.  ,  . 
Oakland,  Cal.     .     . 


2701  (000) 
994 
797 
773 
457 
401 
380 
324 
314 
243 
237 
235 
208 
153 
138 
132 

256 
192 
161 
159 
140 
130 

577 
508 
316 
258 
216 


84  HISTORICAL  INTRODUCTION 

It  is  not  practicable  to  go  into  detail  as  to  the  ways  in  which  most  of 
these  cities  are  serving  as  musical  centers.  Perhaps  half  of  them  have  more 
or  less  permanent  orchestras  and  at  least  three-quarters  of  them  somewhat 
competent  choral  societies.  Though  but  a  few  as  yet  have  operatic  perform- 
ances, a  large  majority  enjoy  regular  concert-seasons  of  some  significance. 
Nearly  all  boast  one  or  more  strong  music-schools,  and  all  doubtless  con- 
tain some  or  many  superior  teachers.  Comparatively  few  of  them  fail  to 
provide  in  their  public  libraries  for  the  demands  of  those  who  would  cultivate 
themselves  in  musical  knowledge  through  books. 

The  opening  of  the  20th  century  brought  a  striking  quickening  of  effort  in  the 
presentation  of  opera.  The  MetropoUtan  Opera  House  in  New  York  remained 
the  conspicuous  center,  with  the  Auditorium  in  Chicago  a  good  second.  From 
1900  several  efforts  were  made  to  establish  opera  in  English  through  traveling 
troupes  —  the  chief  being  those  of  Savage  and  of  the  Aborns  —  efforts  that 
have  since  been  continued  at  intervals  and  in  different  forms,  though  constantly 
tending  to  veer  off  into  the  more  lucrative  field  of  light  opera.  Much  more  im- 
portant was  the  spectacular  undertaking  of  Hammerstein  in  1906  at  his  Man- 
hattan Opera  House  in  New  York  (with  branch-efforts  in  Philadelphia,  leading 
to  his  Philadelphia  Opera  House  in  1908)  to  dispute  the  leadership  of  the  Metro- 
politan. This  competition  led  in  1908  to  the  transfer  of  the  Metropolitan  to  the 
capable  hands  of  Gatti-Casazza,  its  present  manager,  to  the  erection  of  the 
Boston  Opera  House  in  1909  and  a  determined  effort  to  link  New  York  and  Boston 
operatically,  ahd  in  1910  to  the  restriction  of  the  Hammerstein  interest  by  the 
Metropolitan.  This  last  step  was  immediately  followed  by  the  formation  of  the 
strong  and  enterprising  Chicago  Opera  Association,  which  has  ever  since  been 
foremost  as  a  friendly  competitor  with  the  Metropolitan.  In  1913-15  an  energetic 
effort  was  made  in  New  York  to  set  up  a  fresh  center  at  the  Century  Opera  House. 

The  number  of  permanent  orchestras  was  rapidly  increased.  The  dates  in 
some  cases  are  not  easy  to  fix  precisely,  since  tentative  experiments  often  preceded 
positive  establishment,  but  it  may  be  noted  that  Archer  and  Herbert  began  as 
conductors  at  Pittsburgh  even  before  1900,  that  Scheel  was  at  Philadelphia  from 
1900,  Oberhoffer  at  Minneapolis  from  1903,  Altschuler  and  his  Russian  Symphony 
Orchestra  at  New  York  from  1904,  Zach  at  St.  Louis  from  1907,  Rothwell  at  St, 
Paul  from  1908,  Stokowski  at  Cincinnati  in  1909  (reorganization),  Hadley  at 
Seattle  in  1909  and  at  San  Francisco  in  1911,  Busch  at  Kansas  City  from  1910, 
Gales  at  Detroit  in  1914,  Gunn  and  the  American  Orchestra  at  Chicago  from  1915, 
Strube  at  Baltimore  from  1916,  etc.  These  are  but  varied  samples  of  a  movement 
that  now  reaches  more  or  less  over  the  whole  country.  In  1911  the  cause  of 
orchestral  music  was  furthered  by  a  princely  bequest  to  the  Philharmonic  Society 
of  New  York,  in  1914  by  an  analogous  gift  to  the  New  York  Symphony  Society 
and  in  1915  by  another  to  the  Cincinnati  Symphony  Orchestra  —  these  endow- 
ments following  the  example  already  set  in  Boston  and  Chicago,  The  larger 
orchestras  now  usually  make  extended  tours  each  season,  so  that  their  influence 
is  spread  over  a  wide  area.  Most  of  them  also  engage,  in  whole  or  in  part,  in  a 
multiplicity  of  'festival'  undertakings. 


THE  OPENING   OF  THE  TWENTIETH  CENTURY  85 

The  cultivation  of  chamber-music  has  grown  apace  since  the  Kneisel  Quartet 
led  the  way  in  1886.  Among  its  early  successors  was  the  Spiering  Quartet  of  Chi- 
cago (1893-1905).  In  1900  was  organized  the  Longy  Club  of  Boston  (wind-in- 
struments), to  which  was  added  in  1910  the  parallel  Barrere  Ensemble  of  New 
York.  In  1903  it  was  an  American  banker  who  joined  the  list  of  great  patrons 
by  founding  the  Flonzaley  Quartet,  which  forthwith  became  internationally  signifi- 
cant. Among  many  other  organizations  of  the  period  may  be  named  the  Olive 
Mead  Quartet  and  the  Margulies  Trio,  both  launched  in  New  York  in  1904. 
Among  recent  additions  are  the  Philharmonic  Ensemble  of  New  York  (1913),  the 
Kortschak  Quartet  of  Chicago  (1915,  transformed  in  1916  into  the  Berkshire),  the 
Letz  Quartet  of  New  York  (1917),  etc. 

In  the  choral  field  there  has  been  a  steady,  though  not  rapid,  multiplication  of 
societies.  Perhaps  the  most  striking  are  those  devoted  to  the  production  of  com- 
paratively unusual  works.  The  Musical  Art  Society  of  New  York,  which  was 
founded  as  early  as  1893,  initiated  an  interest  in  historical  programs,  especially 
in  a  cappella  form,  that  has  spread  to  several  other  cities.  Somewhat  akin  is  the 
Schola  Cantorum  of  New  York,  which  followed  in  1908.  Two  Canadian  societies, 
the  Mendelssohn  Choir  of  Toronto  (from  1894)  and  the  Elgar  Choir  of  Hamilton 
(from  1904),  have  acquired  much  more  than  a  local  reputation  through  tours  in 
the  United  States.  German,  Scandinavian,  Welsh  and  other  national  choruses 
have  aroused  enthusiasm  in  various  parts  of  the  country.  To  the  list  of  annual 
festivals  there  are  two  striking  additions,  though  very  dissimilar  in  character, 
namely,  that  of  the  Bach  Choir  at  Bethlehem,  Pa.  (since  1898)  and  that  of  the 
Litchfield  County  Choral  Union  at  Norfolk,  Conn,  (since  1902).  The  Worcester 
(Mass.)  festivals  have  maintained  their  position  of  importance.  Among  others 
those  at  Ann  Arbor,  Mich.,  and  Evanston,  111.,  may  be  named  as  representative  of 
many  that  are  associated  with  large  educational  institutions.  Those  at  Peterboro, 
N.  H.,  and  at  Lockport,  N.  Y.,  may  be  cited  as  specimens  of  still  other  classes. 

After  1900,  even  more  than  during  the  decade  before,  the  influx  of  visiting 
artists  of  every  kind  from  abroad  was  notable  for  amount  and  quality.  After  1910, 
and  especially  as  the  cloud  of  impending  war  arose,  this  influx  increased,  bringing 
many  who  probably  will  remain  permanently.  In  a  single  year  the  number  of 
immigrants  who  are  classed  as  'musicians'  has  risen  as  high  as  350.  Thus  the 
factor  of  internationality  in  American  music  is  at  present  on  the  increase. 

No  proper  summary  can  here  be  made  of  the  advance  of  technical  music- 
education.  The  recent  period  has  seen  the  steady  strengthening  of  the  older 
institutions  and  the  addition  of  many  new  ones.  Many  of  those  that  are  com- 
paratively unpretentious  serve  a  useful  purpose  for  their  own  circle  and  region. 
Some  command  a  clientage  from  the  whole  country  —  and  even  from  foreign 
countries.  The  Institute  of  Musical  Art  in  New  York,  founded  in  1905,  is  perhaps 
unique  in  the  size  of  its  initial  endowment  and  its  policy  of  administration.  In 
most  of  the  leading  conservatories  great  changes  of  scope  and  method  have  taken 
place.  Almost  all  of  them  now  provide  extensively  for  the  pursuit  of  dramatic 
music,  for  experience  in  ensemble-playing,  for  discipline  in  applied  pedagogy, 


86  HISTORICAL  INTRODUCTION 

and  for  other  branches  not  easily  accessible  in  private  instruction.  All  maintain 
ample  demonstrative  courses  of  concerts  and  recitals. 

To  this  recent  period  belongs  the  advance  of  the  music-departments  in  colleges 
and  universities  into  marked  importance.  The  origin  of  many  of  them  was  far 
back  in  an  earlier  time,  but  their  development  on  broad  lines  has  mostly  come  since 
1900.  The  state  universities  as  a  class,  with  the  colleges  for  women,  have  be- 
come notable  for  their  attention  to  music  as  an  element  in  or  adjunct  to  general 
education.  They,  like  the  music-schools  generally,  have  also  magnified  the  pur- 
suit of  music  as  an  occupational  preparation.  In  the  public  schools  music- 
instruction  has  not  only  become  much  more  customary  in  cities  and  larger  towns, 
but  has  been  greatly  improved  in  quality,  scope  and  status.  Its  administration 
by  highly  trained  supervisors  has  made  it  more  professional  in  character.  In 
many  cases  school-choruses  and  school-orchestras  have  reached  a  remarkable 
pitch  of  artistic  excellence.  Urgent  efforts  are  being  put  forth  to  link  up  private 
musical  study  by  pupils  with  their  school  program  and  standing  by  means  of  some 
system  of  credits.  The  importance  of  all  this  is  shown  by  the  attention  to  it  given 
by  bodies  like  the  National  Education  Association  and  a  governmental  depart- 
ment like  the  Bureau  of  Education, 

Musical  periodicals  have  not  so  much  increased  in  number  as  gained  in  dignity, 
circulation  and  influence.  A  capital  event  in  this  field  was  the  founding  in  1915 
of  '  The  Musical  Quarterly,'  which  is  plainly  on  a  much  higher  level  than  anything 
previously  attempted  in  America. 

In  the  field  of  church-music  the  most  influential  organization  is  the  American 
Guild  of  Organists,  founded  in  1896,  which  works  through  a  system  of  examina- 
tions to  measure  and  attest  the  ability  of  players,  and  by  means  of  local  chapters 
and  frequent  services  aims  to  develop  and  guide  enthusiasm.  There  is  also  an 
energetic  National  Association  of  Organists,  founded  in  1908. 

A  singular  feature  of  the  period  is  the  prodigious  expansion  of  mechanical  ap- 
pliances for  reproducing  music.  Experiments  in  this  direction  were  originally 
made  in  Europe  and  somewhat  in  America  long  before  1900,  but  the  exploitation 
of  such  appliances  on  a  large  scale  is  mostly  confined  to  the  last  twenty-five  years. 
It  is  in  America  that  they  have  been  best  perfected  and  most  extensively  adopted. 
Their  popularity  has  aroused  much  discussion.  On  one  hand  it  is  naturally  said 
that  they  do  not  usually  represent  musical  effects  accurately  or  adequately,  es- 
pecially in  correct  intonation,  delicacy  of  nuance  and  the  subtle  personal  magnetism 
of  the  living  performer.  Yet,  on  the  other  hand,  it  is  evident  that  for  many  users, 
especially  those  of  limited  opportunity  or  of  uncritical  habit  of  listening,  they 
supply  a  real  means  of  entrance  into  the  world  of  musical  literature.  They  have 
proved  of  value  as  adjuncts  to  technical  music-teaching  in  some  forms  and  stages. 
The  balance  between  their  good  and  bad  possibilities  must  be  struck  according 
to  circumstances.  It  is  true  that  the  eagerness  for  large  sales  has  led  many  manu- 
facturers of  records,  like  some  publishers  of  printed  music,  to  flood  the  market 
with  inferior  and  even  obnoxious  material  and  to  stimulate  its  purchase.  Yet 
remarkably  fine  records  of  important  works,  vocal  and  instrumental,  have  been 


THE  OPENING  OF  THE  TWENTIETH  CENTURY  87 

prepared  and  their  number  increases.  For  those  who  are  minded  to  use  mechani- 
cal means  with  discretion  and  educational  design  an  extensive  repertory  is  avail- 
able and  for  its  actual  presentation  all  kinds  of  reproducers  are  now  obtainable  in 
remarkable  perfection.  This  commercial  evolution,  then,  with  its  hold  upon 
popular  attention,  must  be  counted  as  an  important  factor  in  the  present  situation. 

Slightly  related  to  this  is  the  extraordinary  development  of  music  as  an  adjunct 
to  moving-picture  theaters.  In  the  larger  of  these  organs  of  both  power  and 
delicacy  are  now  common,  and  the  use  of  them  is  becoming  a  specialty  among  or- 
gan-players. In  a  few  cases  there  is  also  an  orchestra  of  superior  quality.  It 
is  not  yet  clear  how  great  an  influence  this  rather  sudden  development  is  to  have, 
or  along  what  lines. 

It  is  mostly  since  1900  that  the  American-born  composer,  along  with  the 
American-born  concert-performer,  may  be  said  to  have  begun  to  come  into  his 
heritage.  In  recent  years  works  by  both  the  older  and  the  younger  groups  of 
composers  have  begun  to  be  given  as  never  before  by  orchestras,  choral  societies, 
chamber-ensembles,  vocal  and  instrumental  soloists,  and  even  the  great  opera- 
companies.  Recitalists  and  teachers  are  giving  far  more  attention  to  American 
works,  and  several  publishers  are  specializing  in  them.  Thus  at  length  the  musical 
public  is  becoming  aware  of  much  that  lies  ready  at  its  hand.  In  all  this  progress 
the  adopted  American,  also,  is  receiving  his  share  of  recognition.  Almost  the 
only  direct  result  of  the  World  War  as  regards  musical  matters  has  been  the 
access  of  emphasis  upon  that  which  represents  America  and  American  sentiment. 
At  the  same  time,  however,  it  must  be  confessed  that  the  social  conditions  issuing 
from  the  war  period  are  so  complicated  that  it  is  harder  than  ever  to  say  precisely 
what  is  distinctively  'American.'  With  every  succeeding  decade  compact  gen- 
eralizations as  to  the  national  qualities,  tendencies  and  destinies  become  more 
difficult  and  hazardous. 

Among  the  younger  composers  a  few  names  begin  to  stand  out  in  succession  to 
those  named  at  an  earlier  point,  names  like  D.  G.  Mason,  Carpenter,  Schelling, 
Campbell-Tipton,  D.  S.  Smith,  Fairchild,  Cadman,  Powell,  Clapp  and  Sowerby. 
But  whether  or  not  these  are  typical  is  a  question  for  time  and  critical  judgment  to 
answer.  The  purpose  of  this  Introduction  is  not  to  describe  the  history  of  Ameri- 
can composition  or  appraise  the  works  or  style  of  even  its  chief  representatives, 
but  simply  to  indicate  the  conditions  surrounding  that  evolution  and  some  of  the 
social  connections  of  musical  effort.  Almost  every  page  of  this  volume  offers  data 
as  to  the  variety  and  abundance  of  production,  especially  during  the  last  half- 
century.     The  critical  sifting  of  these  data  it  is  perhaps  not  yet  time  to  attempt. 

There  seems  not  to  be  any  book  that  devotes  itself  to  the  topics  that  have 
been  here  emphasized  —  the  material  and  social  setting  or  environment  of 
musical  and  other  artistic  progress.  Yet  in  the  larger  histories  and  in  many 
similar  discussions  passages  or  chapters  might  perhaps  be  cited  to  some  ad- 
vantage. Instead  of  attempting  this,  however,  the  following  brief  list  of 
compact  manuals  of  the  history  as  a  whole  may  be  set  down :  Epochs  of 
American  History,  3  vols. ;  Farrand,  The  Development  of  the  United  States, 
1918;  Elson,  Sidelights  on  American  History,  2  vols.,  1899-1900;  Sparks,  The 
Men  who  Made  the  Nation,  1900;   Muzzey,  American  History,  1911. 


88 


CHRONOLOGICAL  REGISTER 


[9:  1900-1910 


CHRONOLOGICAL  REGISTER 


9.   The  Opening  of  the  20th  Century  — 
1900-1910 

Aborn,  Milton  (b.  Marysville,  Cal.,  1864) ,  and 
his  brother  Sargent  Aborn  (b.  Boston,  1866), 
active  since  1885  as  theatrical  players  or 
managers,  from  1902  managed  the  Aborn 
Opera  Company,  giving  opera  in  English  at  low 
prices,  and  in  1913-15  made  a  decided  success 
with  the  Century  Opera  House  in  New  York. 

*Alda,  Frances  [Frances  Davis]  (b.  New 
Zealand,  1883),  having  appeared  from  1904 
as  operatic  soprano  in  Europe  and  South 
America,  since  1908  has  been  a  favorite  at 
the  Metropolitan  Opera  House  in  New  York. 
In  1910  she  married  the  manager  Gatti- 
Casazza.     See  art. 

Aldrich,  Mariska  (b.  Boston,  1881),  studied 
in  Paris  and  London,  made  her  debut  as  dra- 
matic soprano  in  1908  in  New  York,  and  since 
1909  has  been  (except  in  1914  at  Berlin)  at  the 
Metropolitan  Opera  House.  Since  1917  she 
has  been  Mrs.  W.  E.  S.  Davis. 

*Altschuler,  Modest  (b.  Russia,  1873),  an 
expert  'cellist,  in  1903  organized  the  Russian 
Symphony  Orchestra,  of  which  he  has  since 
been  conductor.     See  art. 

*Amato,  Pasquale  (b.  Italy,  1878),  the  well- 
known  operatic  baritone,  since  1908  has  been 
at  the  Metropolitan  Opera  House.     See  art. 

Anderson,  Arthur  Olaf  (b.  Newport,  R.  I., 
1880),  trained  in  Boston,  Paris,  Berlin  and 
Rome,  in  1905  began  theory-teaching  in 
Berlin,  and  since  1908  has  taught  at  the 
American  Conservatory  in  Chicago.     See  art. 

*Ara,  Ugo  (b.  Italy,  1876),  from  1903  was 
violist  in  the  Flonzaley  Quartet  until  recalled 
to  Italy  by  the  World  War  in  1917,  his  place 
being  taken  by  Louis  Bailly. 

*d'Archambeau,  Ivan  (b.  Belgium,  1879), 
since  1903  has  been  'cellist  in  the  Flonzaley 
Quartet. 

*Arimondi,  Vittorio  (b.  Italy,  ?  ),  the 
operatic  bass,  from  1906  sang  at  the  Manhattan 
Opera  House  in  New  York,  and  since  1910  has 
been  with  the  Chicago  Opera  Company. 

*Audsley,  George  Ashdown  (b.  Scotland, 
1838),  since  1892  an  architect  in  New  York, 
from  1905  has  published  sumptuous  treatises 
on  organ-building.     See  art. 

Ayres,  Frederic  (b.  Binghamton,  N.  Y., 
1876),  studied  in  New  York  and  Boston,  and 
since  1901,  with  some  teaching  and  lecturing, 
has  been  engaged  on  composition,  living  in 
Colorado  Springs.     See  art. 

Barnes,  Edward  Shippen  (b.  Seabright,  N. 
J.,  1887),  studied  at  the  Yale  School  of  Music, 
from  1909  was  assistant  University  organist, 
and,  after  study  in  Paris,  from  1911  was  organ- 
ist in  New  York,  joining  the  Naval  Reserve  in 
1918-19.     See  art. 

Barnhart,  Harry  Horner  (b.  1874),  trained 
as  baritone  and  choral  leader  in  London  and 


Florence,  has  been  successful  in  organizing  and 
leading  large  enterprises  in  community-sing- 
ing, notably  at  Rochester  and  New  York. 

*Barrere,  Georges  (b.  France,  1876),  from 
1895  a  well-known  flutist  in  Paris,  since  1905 
has  been  in  the  New  York  Symphony  Society 
and  teaching  at  the  Institute  of  Musical  Art, 
besides  founding  ensemble-groups.     See  art. 

*Bauer,  Harold  (b.  England,  1873),  from 
1893  a  distinguished  concert-pianist  in  Europe, 
since  1900  has  been  repeatedly  and  enthusi- 
astically heard  in  America.     See  art. 

*Becker,  Rene  Louis  (b.  Alsace,  1882), 
from  1904  was  teacher  and  from  1908  organist 
in  St.  Louis,  from  1912  in  Belleville,  111.,  and 
since  1915  in  Alton,  111.     See  art. 

*Beebe,  Carolyn  (b.  Westfield,  N.  J.,  ?  ), 
studied  piano  and  ensemble-playing  in  New 
York  and  abroad,  made  her  debut  in  Berlin  in 
1903,  in  1905-19  taught  at  the  Institute  of 
Musical  Art  in  New  York,  and  since  1914  has 
been  head  of  the  New  York  Chamber^^Music 
Society. 

Bellamann,  Heinrich  Hauer  (b.  Fulton, 
Mo.,  1882),  studied  in  Paris,  and  since  1907 
has  taught  at  Chicora  College  for  Women, 
Columbia,  S.  C,  becoming  dean  of  the  music- 
department.     See  art. 

*Benedicti8,  Savino  di  (b.  Brazil,  1883), 
theorist  and  composer,  has  for  several  years 
been  professor  in  the  Conservatory  at  Sao 
Paulo.     See  art. 

*Berger,  Rudolf  (Moravia,  1874-1915,  New 
York),  having  sung  for  ten  years  in  Germany 
as  dramatic  baritone,  in  1907-08  studied  in 
New  York,  his  voice  changing  to  tenor,  and 
in  1914-15  sang  at  the  Metropolitan  Opera 
House.  In  1913  he  married  the  soprano 
Marie  Rappold  (see  below). 

Bergh,  Arthur  (b.  St.  Paul,  1882),  from  1903 
was  violinist  in  the  Symphony  Society  in  New 
York  and  at  the  Metropolitan  Opera  House, 
and  in  1911-14  conducted  municipal  concerts. 
See  art. 

*Betti,  Adolf o  (b.  Italy,  1875),  since  1903  has 
been  first  violin  in  the  Flonzaley  Quartet. 

Biggs,  Richard  Keys  (b.  Glendale,  O.,  1886), 
trained  in  Cincinnati  and  London,  since  1908 
has  been  organist  in  Cincinnati,  Detroit,  Cleve- 
land and  Brooklyn,  with  much  recital-playing. 

Bingham,  Walter  Van  Dyke  (b.  Swan  Lake, 
la.,  1880),  graduated  from  Beloit  College  in 
1901,  from  1908  was  instructor  in  psychology  in 
Columbia  University,  from  1910  professor  at 
Dartmouth  College,  and  since  1915  has  been 
at  the  Carnegie  Institute  of  Technology, 
Pittsburgh.  He  has  written  articles  ('  Psy- 
chological Review  ')  upon  physiological  psy- 
chology in  relation  to  music,  and  Studies  in 
Melody,  1910. 

Birge,  Edward  Bailey  (b.  Florence,  Mass., 
1868),  graduated  from  Brown  University  in 
1891,  studied  music  in  Providence  and  New 


9:  1900-1910] 


CHRONOLOGICAL  REGISTER 


89 


Haven,  since  1901  has  been  director  of  music 
in  the  Indianapolis  public  schools,  since  1908 
also  superintendent  of  the  American  Institute 
of  Normal  Methods  and  since  1910  conductor 
of  the  People's  Chorus.  He  has  written  a 
concert-overture  (1904),  a  children's  cantata, 
and  much  school-music. 

Bliss,  Philip  Paul  (b.  Chicago,  1872),  son 
of  P.  P.  Bliss  (see  sec.  5),  graduated  from 
Princeton  in  1894,  was  trained  as  organist  in 
Philadelphia  and  Paris,  from  1900  taught  at 
Owego,  N.  Y.,  and  since  1904  has  been  in 
editorial  work  in  Cincinnati.     See  art. 

*Blum,  Elias  (b.  Hungary,  1881),  came  to 
Boston  as  a  boy,  studied  there  and  at  Weimar, 
from  1905  was  organist  and  tenor  in  Boston, 
from  1909  music-director  at  Whitman  College, 
Walla  Walla,  Wash.,  and  since  1917  has  taught 
at  Grinnell  College  in  Iowa.     See  art. 

Bond,  Carrie,  n6e  Jacobs  (b.  Janesville, 
Wis.,  1862),  since  1903  has  been  noted  as  poet- 
composer  in  Chicago  of  many  very  popular 
songs,  pubUshed  at  the  Bond  Shop  (Carrie 
Jacobs-Bond  &  Son) . 

Bornschein,  Franz  Carl  (b.  Baltimore,  1879), 
studied  in  Baltimore,  and  since  1905  has  been 
teacher  and  conductor  in  the  Peabody  Con- 
servatory there  and  also  leader  of  choral  socie- 
ties elsewhere.     See  art. 

Braham,  Herbert  J.  (b.  Brooklyn,  1885), 
trained  in  London  and  Leipzig,  from  1905  was 
with  the  Savage  Opera  Company,  and  since 
1907  has  been  conductor  of  the  Brooklyn 
Symphony  Orchestra,  the  Brooklyn  Orchestral 
Society  and  other  organizations.  He  has 
written  two  light  operas. 

Branscombe,  Gena  (b.  Picton,  Ont.,  1881), 
studied  at  Chicago  and  later  at  Berlin,  from 
1900  taught  at  the  Chicago  Musical  College, 
in  1907-09  at  Whitman  College  in  Walla  Walla, 
and  since  1910  (as  Mrs.  John  F.  Tenney)  has 
lived  in  New  York  as  composer.     See  art. 

*Bressler-Gianoli,  Clotilde  (Switzerland, 
1875-1912,  Switzerland),  a  brilliant  stage- 
soprano,  sang  with  the  San  Carlo  Opera 
Company  in  New  Orleans  and  New  York  from 
1906,  at  the  Metropolitan  Opera  House  in 
1909-10,  and  with  the  Philadelphia-Chicago 
Opera  Company  from  1910. 

Brosky,  Frank  J.  (b.  Pittsburgh,  1883), 
studied  at  Leipzig  and  Prague,  appeared  as 
concert-violinist  at  Prague  in  1904,  played 
in  orchestras  there,  in  Leipzig  and  Pittsburgh, 
and  since  1910  has  had  a  school  in  Pittsburgh. 

*Brounoff,  Platen  G.  (b.  Russia,  1863), 
since  1892  has  been  lecturer  (mainly  on  Rus- 
sian music)  and  conductor  in  New  York.  See 
art. 

*Buchhalter,  Simon  (b.  Russia,  1881),  since 
1905  has  made  tours  as  pianist  in  America,  in 
1907  taught  at  the  Wichita  College  of  Music, 
and  since  1913  has  lived  at  Chicago.  He  has 
written  the  opera  '  A  Lovers'  Knot '  (1916), 
the  oratorio  '  A  Drama  of  Exile,'  a  setting  of 
Psalm  142,  a  symphonic  overture,  piano-pieces 
and  songs. 


*Buehrer,  Geoffrey  Carl  (b.  Switzerland, 
1878)  trained  at  Paris  and  New  York,  from 
1900  was  organist  and  teacher  at  San  Jose,  Cal., 
from  1906  organist  at  Stanford  University, 
from  1913  in  New  York,  and  since  1916  in 
Baltimore,  where  he  is  head  of  the  Associa- 
tion School  of  Music.  He  arranged  and  con- 
ducted a  musical  Passion-Play  at  Santa  Clara 
three  seasons,  led  the  first  festival  at  Stanford 
University,  and  has  written  a  string-quartet 
on  the  Flight  into  Egypt,  the  cantata  '  As  it 
Began  to  Dawn,'  etc. 

Buhlig,  Richard  (b.  Chicago,  1880),  studied 
in  Chicago  and  Vienna,  from  1901  toured  in 
Europe  as  concert-pianist,  visiting  America 
in  1907-08,  in  1916  came  to  New  York,  and 
since  1918  has  taught  at  the  Institute  of 
Musical  Art. 

Buhrman,  Thomas  Scott  Godfrey  (b. 
Waynesboro,  Pa.,  1887),  studied  in  New 
York,  and  since  1909  has  been  known  as  an 
expert  concert-organist,  specializing  in  the 
works  of  Bach,  and  as  writer  on  organ-subjects. 

*Buonamici,  Carlo  (b.  Italy,  1875),  besides 
appearing  as  concert-pianist,  since  1908  has 
been  associated  with  Felix  Fox  in  the  Fox- 
Buonamici  School  in  Boston. 

Burleigh,  Cecil  (b.  Wyoming,  N.  Y.,  1885). 
studied  mainly  in  Berlin  and  Chicago,  from 

1907  toured  as  violinist,  from  1909  taught  in 
Denver,  from  1911  at  Morningside  College  in 
Sioux  City,  and  in  1914r-19  at  the  University 
of  Montana.     See  art. 

Burlin,  Natalie,  n6e  Curtis  (b.  New  York, 

?  ),    studied     in    New    York    and    several 

European  cities,  and  since  1905  has  published 

important   collections   of    Indian    and    Negro 

songs.     See  art. 

Burnham,  Thuel  (b.  Vinton,  la.,  1884), 
appeared  as  a  child-pianist  from  1890,  studied 
in  New  York  and  Vienna,  from  1900  toured  in 
England  and  from  1904  on  the  Continent, 
and  since  1915  in  the  United  States. 

*Butcher,  Frank  Charles  (b.  England,  1882), 
from  1898  organist  in  England,  from  1908 
taught  at  the  Hoosac  School,  Hoosick,  N.  Y., 
and  since  1916  has  been  organist  at  St. 
Stephen's,  Pittsfield,  Mass.  He  has  written 
church-music  and  songs. 

Cadman,  Charles  Wakefield  (b.  Johnstown, 
Pa.,  1881),  studied  in  Pittsburgh,  where  he 
was  critic,  organist  and  conductor,  and  since 
1906  has  specialized  in  the  study  of  Indian 
music  and  its  use  in  highly  original  composi- 
tion, from  1910  living  in  Los  Angeles.     See  art. 

Calzin,  Alfred  Lucien  (b.  Marine  City, 
Mich.,  1885),  studied  in  Brussels  and  Berlin, 
in  1907-08  toured  in  Europe  as  pianist,  from 

1908  in  America,  from  1912  taught  in  Chicago, 
and  since'  1916  has  been  at  the  Northwestern 
Conservatory,  Minneapolis.  He  has  written 
and  edited  music  for  the  piano. 

Campbell-Tipton,  Louis  (b.  Chicago,  1877), 
studied  mainly  in  Leipzig,  in  1900-01  taught 
in  Chicago,  and  has  since  lived  in  Paris  as 
teacher  and  composer.     See  art. 


90 


CHRONOLOGICAL  REGISTER 


[9:  1900-1910 


*Cantu,  Agostinho  (b.  Italy,  1879),  for 
several  years  has  been  piano-teacher  in  the 
Conservatory  of  the  Capital  at  Sao  Paulo, 
Brazil.  He  has  written  for  string-ensemble, 
besides  piano-pieces  and  songs. 

Carey,  Bruce  Anderson  (b.  Hamilton,  Ont., 
1877),  trained  at  Hamilton,  London,  Florence 
and  Munich,  since  1904  has  been  conductor 
of  the  famous  Elgar  Choir  of  Hamilton. 

Carpenter,  John  Alden  (b.  Park  Ridge,  111., 
1876),  graduated  from  Harvard  in  1897, 
studied  music  there  and  later  in  Chicago, 
where  he  has  been  active  in  commercial  life, 
but  also  fertile  in  composition.     See  art. 

*Carrillo,  Julian  (b.  Mexico,  1875),  trained 
in  Mexico  City,  Leipzig  and  Ghent,  in  1906-07 
toured  in  Mexico  as  pianist,  and  from  1907 
was  connected  with  the  Conservatorio  Nacional 
in  Mexico  City,  becoming  its  head  in  1913, 
but  removing  in  1915  to  New  York.  He  has 
composed  the  operas  '  Mathilda'  and  '  Ossian,' 
two  symphonies,  two  orchestral  suites,  a  piano- 
quintet,  a  string-quartet  and  sextet,  two 
masses  and  a  Requiem,  and  published  Dis- 
cursos  sobre  la  Musica,  1913,  and  Tratado 
SintMico  de  Harmonia,  1913,  '15,  besides  other 
theoretical  works  in  manuscript. 

*Casals,  Piblo  (b.  Spain,  1876),  the  eminent 
'cellist,  since  1901  has  made  successful  tours  in 
the  United  States  and  South  America.  In  1914 
he  married  the  singer  Susan  Metcalfe.    See  art. 

Case,  Anna  (b.  Clinton,  N.  J.,  1889), 
trained  in  New  York,  made  her  debut  as 
operatic  soprano  there  in  1909,  till  1916  sang 
at  the  Metropolitan  Opera  House,  turning 
then  to  concert-work.     See  art. 

■^Cavalieri,  Lina  (b.  Italy,  1874),  the 
dramatic  soprano,  in  1906-07  sang  at  the 
Metropolitan  Opera  House,  in  1907-08  at 
the  Manhattan  Opera  House,  and  in  1915-16 
with  the  Chicago  Opera  Company.  In  1913 
she  married  the  tenor  Lucien  Muratore  (see 
sec.  10).     See  art. 

*Charlier,  Marcel  (b.  Belgium,  ?  ),  hav- 
ing been  opera-conductor  in  London,  from 
1906  was  assistant-conductor  (for  French 
operas)  at  the  Manhattan  Opera  House,  and 
since  1910  has  held  a  similar  position  with 
the  Chicago  Opera  Company. 

Cheatham,  Kitty  [Katharine  Smiley  C] 
(b.  Nashville,  Tenn.,  ?  ),  a  mezzo-soprano, 
now  living  in  New  York,  who  has  specialized 
in  Negro  folk-songs  and  songs  of  childhood, 
giving  many  recitals  in  America  and  abroad. 
She  has  published  two  song-collections. 

Cisneros,  Eleonora  de,  n6e  Broadfoot 
(b.  New  York,  1880),  studied  in  New  York 
and  later  in  Paris,  first  appeared  as  opera- 
soprano  in  New  York  in  1900,  in  1901-06  sang 
in  European  capitals,  and  since  1906  has  been 
mainly  engaged  in  America,  from  1910  with 
the  Chicago  Opera  Company.     See  art. 

Clapp,  Philip  Greeley  (b.  Boston,  1888), 
graduated  from  Harvard  in  1908,  studied 
there  and  in  Stuttgart,  from  1911  taught  at 
Harvard   and   near   Boston,    from    1915   was 


music-director  at  Dartmouth  College,  and 
since  1919  has  been  professor  at  the  State 
University  of  Iowa.     See  art. 

Class,  Franklin  Morris  (b.  New  York, 
1881),  graduated  from  Harvard  in  1903  and 
from  1907  a  practicing  physician,  since  1903 
has  been  known  as  composer  and  writer.  See 
art. 

Clemens,  Clara  (b.  Elmira,  N.  Y.,  1871?), 
daughter  of  '  Mark  Twain,'  studied  in  Hart- 
ford, Conn.,  Berlin  and  Vienna,  and  since  1906 
has  appeared  in  Europe  and  America  as  con- 
cert-contralto. In  1909  she  married  the  pianist 
and  conductor  Gabrilovitch.     See  art. 

*Clement,  Edmond  (b.  France,  1867),  the 
noted  opera-tenor  of  the  Opera-Comique,  in 
1909-10  sang  at  the  Metropolitan  Opera 
House  in  New  York,  and  in  1911-13  with  the 
Boston  Opera  Company. 

Colburn,  George  (b.  Colton,  N.  Y.,  1878), 
trained  in  Chicago,  from  1902  taught  in  the 
American  Conservatory  there,  besides  some 
conducting  after  1913,  and  since  1915  has  been 
municipal  music-director  at  Winona,  Minn. 
He  has  composed  incidental  orchestral  music 
and  '  masques,'  the  symphonic  poem  '  Spring's 
Conquest '  (1913),  a  piano-trio  (1909),  and 
a  piano-quartet  (1915). 

*Courboin,  Charles  Marie  (b.  Belgium,  1886), 
already  noted  as  a  gifted  organist,  since  1904 
has  been  organist  at  Oswego,  N.  Y.,  and  at 
Syracuse,  with  stated  work  also  at  Springfield, 
Mass.,  and  in  Philadelphia,  and  many  recitals 
elsewhere.     See  art. 

Cowles,  Walter  Ruel  (b.  New  Haven,  Conn., 
1881),  graduated  from  Yale  in  1906,  was 
trained  there  and  later  in  Paris,  from  1907 
taught  in  Newport,  R.  I.,  and  since  1911  has 
been  piano-instructor  in  the  Yale  School  of 
Music  and  church-organist.  He  has  written 
a  piano-concerto  (1907),  a  piano-trio  (1916), 
a  violin-sonata  (1914),  music  for  the  Yale 
Pageant  of  1916,  etc. 

Craft,  Marcella  (b.  Indianapolis,  1880),  stud- 
ied in  Boston  and  Milan,  from  1902  appeared 
as  operatic  soprano  at  Morbegno  and  other 
Italian  cities,  from  1907  sang  at  Mainz,  Kiel  and 
Munich,  and  since  1914  in  America.     See  art. 

Cunningham,  Claude  (b.  Manchester,  Va., 
1880),  studied  in  New  York  and  Paris,  made 
his  debut  as  concert-baritone  in  1903  with 
Patti  on  her  last  American  tour,  and  has  since 
sung  with  success  in  oratorio  and  concert 
throughout  the  United  States  and  also  in 
Germany  (1908).  He  has  published  The  World- 
Spirit  and  Other  Essays,  1916. 

Curry,  Arthur  Mansfield  (b.  Chelsea,  Mass., 
1866),  a  pupil  of  Kneisel  and  MacDowell, 
became  known  as  composer  about  1900,  in 
1914  taught  in  Berlin  and  later  at  the  New 
England  Conservatory  in  Boston.     See  art. 

*Dalmores,  Charles  (b.  France,  1871),  an 
experienced  stage-tenor,  in  1906-10  sang  at 
the  Manhattan  Opera  House  in  New  York, 
and  since  1910  has  been  with  the  Chicago 
Opera  Company.     See  art. 


9:  1900-1910] 


CHRONOLOGICAL  REGISTER 


91 


*Destinn,  Emmy  [original  name  Kittl] 
(b.  Bohemia,  1878),  the  brilliant  operatic 
soprano,  since  1908  has  been  in  the  Metro- 
politan Opera  House  forces,  though  retaining 
her  home  in  Prague.  Besides  being  a  gifted 
actress  and  singer,  she  is  also  novelist  and 
poet.     See  Baker,  Diet,  of  Musicians,  p.  205. 

*D6thier;  Edouard  (b.  Belgium,  1885), 
brother  of  Gaston  M.  Dethier  (see  sec.  8), 
since  1906  has  toured  extensively  in  America 
as  concert-violinist  and  has  also  taught  at 
the  Institute  of  Musical  Art  in  New  York. 

Dett,  R.  Nathaniel  (b.  Drummondville,  Que., 
1882),  trained  at  Oberlin  and  New  York,  first 
appeared  as  pianist  in  1908,  from  1909  was 
music-director  at  Lane  College  in  Tennessee, 
from  1912  at  Lincoln  Institute  in  Missouri, 
and  since  1913  at  Hampton  Institute  in 
Virginia.     See  art. 

*Diggle,  Roland  (b.  England,  1885),  from 
1908  was  organist  in  Canada,  from  1911  in 
Quincy,  111.,  and  since  1914  in  Los  Angeles, 
with  concert-tours.  He  has  written  string- 
quartets,'  organ-sonatas,  an  orchestral  '  Fairy 
Suite,'  church-music,  piano-pieces  and  songs. 

*Dolmetsch,  Arnold  (b.  France,  1858),  the 
expert  upon  old  instruments  and  their  music, 
in  1902-09  lived  in  the  United  States  as 
recitalist,  lecturer,  and  maker  of  spinets,  etc., 
at  the  Chickering  factory  in  Boston. 

Donalda,  Pauline  [original  name  Lightstone] 
(b.  Montreal,  1884),  trained  in  Montreal  and 
Paris,  in  1904  made  her  debut  as  operatic 
soprano  at  Nice,  appeared  at  Brussels  and 
London,  in  1906-07  sang  at  the  Manhattan 
Opera  House,  and  has  since  been  mainly 
engaged  at  the  Opera-Comique  in  Paris.  In 
1906  she  married  the  French  tenor  Seveilhac. 

Downes,  Edwin  Clin  (b.  Evanston,  111., 
1886),  studied  in  Boston,  and  since  1907  has 
been  music-critic  on  the  '  Post '  there,  with 
much  lecturing  and  literary  work,  and  also 
teaching  at  Chautauqua  in  1913-14.     See  art. 

*Drangosch,  Ernesto  (b.  Argentina,  1882), 
studied  at  Berlin,  toured  as  pianist,  and  since 
1905  has  been  head  of  the  Conservatorio  in 
Buenos  Aires. 

*Dufranne,  Hector  (b.  France,  ?  ),  well 
known  in  France  and  England  as  an  opera- 
tenor,  from  1908  sang  at  the  Manhattan  Opera 
House  in  New  York,  and  since  1910  has  been 
with  the  Chicago  Opera  Company,  but  retains 
his  residence  in  France. 

Dunn,  James  Philip  (b.  New  York,  1884), 
graduated  from  the  College  of  the  City  of 
New  York  in  1903,  studied  music  at  Columbia 
University,  and  has  been  organist  in  New  York 
and  Jersey  City.     See  art. 

Durst,  Sidney  C.  (b.  Hamilton,  O.,  1870), 
trained  at  Cincinnati  and  Munich,  since  about 
1903  has  taught  in  Cincinnati,  at  first  at  the 
College  of  Music,  later  at  the  Metropolitan 
College,  besides  serving  more  or  less  as  ac- 
companist and  organist  at  the  May  Festivals. 
He  has  composed  an  orchestral  suite,  cantatas 
and  other  vocal  music. 


Edvina,  Marie  Louise  Lucienne,  nee  Martin 
(b.  Montreal,  ?  ),  studied  in  Paris,  made  her 
d6but  as  operatic  soprano  in  1908  in  London, 
where  she  has  since  sung  regularly,  and  in 
1911-13  was  with  the  Boston  Opera  Company, 
and  since  1915  with  the  Chicago  Opera  Com- 
pany, In  1901  she  married  Hon.  Cecil  Ed- 
wards (whence  her  stage-name). 

Edwards,  John  Harrington  (Acton,  Mass., 
1834-1918?,  Seattle),  a  retired  Presbyterian 
clergyman,  then  of  Brooklyn,  published  God 
and  Music,  1903,  arguing  that  the  being  and 
nature  of  God  are  especially  exhibited  in  the 
facts  of  tone  and  the  tonal  art  —  a  novel 
application  of  the  argument  from  design. 

Egg,  Arthur  Henry  (b.  Montreal,  1891), 
studied  in  Montreal  and  later  in  London,  in 
1909-10  was  organist  in  Montreal,  from  1910 
in  a  suburb  of  London,  and  since  1913  at 
Christ  Church  Cathedral,  Montreal.     See  art. 

*EIman,  Mischa  (b.  Russia,  1892),  the  em- 
inent violinist,  since  1908  has  made  frequent 
tours  in  the  United  States  with  striking  success. 
See  Vol.  V.  634,  and  art. 

*Evans,  Edwin  (b.  Wales,  1876),  educated 
in  Philadelphia,  since  1907  has  been  an  effective 
concert-baritone  in  oratorio  and  song-recital, 
besides  teaching  in  Philadelphia. 

Evans,  Frederick  Vance  (b.  Des  Moines,  la., 
1883),  trained  in  Iowa  and  Wisconsin,  from 
about  1905  concert-bass  and  teacher  in  Des 
Moines  music-schools,  and  since  1913  has  been 
dean  of  music  at  Lawrence  College,  Appleton, 
Wis. 

*Ezerman,  D.  Hendrik  (b.  Holland,  1880), 
since  1901  has  been  concert-pianist  in  Phila- 
delphia, and  for  some  years  head  of  the 
Philadelphia  Conservatory. 

*Fabri,  Ludwig  Schmitt  (b.  Bavaria,  1874), 
after  experience  in  Germany  as  opera-tenor 
and  conductor,  for  several  years  has  been 
active  in  Philadelphia,  conducting  his  own 
Opera  School. 

Fairchild,  Blair  (b.  Belmont,  Mass.,  1877), 
studied  at  Harvard  and  in  Florence,  from  1901 
was  in  diplomatic  service  at  Constantinople 
and  Teheran,  and  since  1905  has  lived  in  Paris, 
occupied  with  composition.     See  art. 

Farnam,  W.  Lynnwood  (b.  Sutton,  Que., 
1885),  trained  mostly  in  London,  from  1904 
was  organist  in  Montreal,  after  1908  at  Christ 
Church  Cathedral,  in  1913-18  at  Emmanuel 
Church,  Boston,  and  from  1919  in  New  York. 
See  art. 

Farrar,  Geraldine  (b.  Melrose,  Mass.,  1882), 
studied  in  Boston,  New  York,  Washington 
and  Paris,  was  heard  in  concert  in  1895,  but 
made  her  debut  as  opera-soprano  in  1901  at 
Berlin,  resulting  in  immediate  engagements 
there  and  elsewhere.  Since  1906  she  has  been 
at  the  Metropolitan  Opera  House.     See  art. 

Fay,  Maude  (b.  San  Francisco,  1883), 
trained  at  San  Francisco  and  Dresden,  in 
1906-15  was  soprano  at  the  Hofoper  in  Munich, 
besides  appearing  often  elsewhere.  Her  home 
is  in  San  Francisco, 


92 


CHRONOLOGICAL  REGISTER 


[9:  1900-1910 


Federlein,  Gottfried  Heinrich  (b.  New  York, 
1883),  son  of  Gottlieb  H.  Federlein  (see  sec.  7), 
studied  in  New  York,  and  since  1907  has  been 
organist  there,  giving  recitals  elsewhere.  He 
has  written  considerable  church-music. 

*Fiedler,  August  Max  (b.  Saxony,  1859), 
the  distinguished  pianist  and  conductor,  in 
1908-12  was  conductor  of  the  Boston  Sym- 
phony Orchestra,  returning  then  to  Berlin. 

*Flodin,  Karl  (b.  Finland,  1858,  of  German 
parents),  since  1907  has  lived  as  composer  and 
author  at  Buenos  Aires,  giving  special  atten- 
tion to  Finnish  music.     See  art. 

*Floridia,  Pietro  (b.  Sicily,  1860),  came  to 
America  in  1904,  in  1906-08  taught  at  the 
Cincinnati  College  of  Music,  and  since  then 
has  lived  in  New  York  as  composer  and  from 
1913  conductor  of  the  Italian  Symphony 
Orchestra.     See  art. 

Fornia-Labey,  Rita,  nee  Newman  (b.  San 
Francisco,  1878),  studied  in  San  Francisco 
and  Paris,  appeared  first  as  opera-soprano  in 
Germany,  from  1906  sang  with  the  Savage 
Opera  Company,  and  since  1908  has  been  at 
the  Metropolitan  Opera  House.     See  art. 

Fradkin,  Fredric  (b.  Troy,  N.  Y.,  1892), 
studied  violin  in  New  York  and  Paris,  from 
1909  was  concertmaster  at  Bordeaux  and 
Monte  Carlo,  in  1911  appeared  in  New  York, 
was  then  again  abroad,  from  1914  was  con- 
certmaster in  New  York,  and  in  1918-19  with 
the  Boston  Symphony  Orchestra.     See  art. 

*Fraemcke,  August  (b.  Hamburg,  1870), 
since  1900  has  been  associated  with  Karl  Hein 
(see  sec.  8)  in  the  management  of  the  German 
Conservatory  in  New  York  and  also  since 
1906  of  the  New  York  College  of  Music. 

*Friml,  Charles  Rudolf  (b.  Bohemia,  1881), 
accompanied  the  violinist  Kubelik  on  his  Ameri- 
can tour  in  1901  and  again  in  1906,  since  then 
living  in  New  York  as  composer.     See  art. 

Frysinger,  J.  Frank  (b.  Hanover,  Pa.,  1878), 
studied  in  Baltimore,  New  York,  Philadelphia 
and  London,  began  organ-playing  when  a 
boy,  from  1909  was  organist  at  York,  Pa., 
and  also  music-director  at  Hood  College, 
Frederick,  Md.,  from  1911  organist  in  Lincoln, 
Neb.,  and  teacher  at  the  University  School 
of  Music,  and  since  1918  has  taught  at  Augus- 
tana  College  in  Illinois.     See  art. 

Fullerton,  Robert  (b.  Dundalk,  Ont.,  1867), 
brother  of  C.  A.  Fullerton  (see  sec.  8),  trained 
at  Cedar  Falls,  la.,  Oberlin,  New  York,  Boston 
and  Florence,  in  1901-05  and  1907-11  was 
vocal  teacher  at  the  State  Teachers  College, 
Cedar  Falls,  and  since  1914  has  been  in 
Minneapolis,  from  1916  as  head  of  the  Twin 
City  Conservatory. 

*Gabrilovitch,  Ossip  Salomonovitch  (b.  Rus- 
sia, 1878),  an  eminent  pianist  since  1896,  from 
1900  made  repeated  tours  in  the  United  States, 
in  1917-18  conducted  orchestral  concerts  in 
New  York,  and  since  1918  has  been  conductor 
of  the  Detroit  Orchestra.     See  art. 

*Ganz,  Rudolph  (b.  Switzerland,  1877),  the 
noted  pianist,  from  1900  taught  in  the  Chicago 


Musical  College,  and  since  1905  has  toured 
extensively  in  America  and  Europe.     See  art. 

*Garden,  Mary  (b.  Scotland,  1877),  spent 
her  childhood  and  early  youth  in  the  United 
States,  studied  for  the  opera-stage  in  Paris, 
making  her  debut  in  1900,  returned  to  sing 
at  the  Manhattan  Opera  House  in  New  York 
in  1907,  and  since  1910  has  been  with  the 
Chicago  Opera  Company.     See  art. 

*Gatti-Casazza,  Giulio  (b.  Italy,  1869),  after 
much  experience  as  impresario  in  Italy,  since 
1908  has  been  the  able  manager  of  the  Metro- 
politan Opera  House  in  New  York.     See  art. 

*Gay,  Maria  (b.  Spain,  1879),  the  operatic 
contralto,  came  to  the  Metropolitan  Opera 
House  in  New  York  in  1908,  from  1910  was 
with  the  Boston  Opera  Company,  and  in 
1913-14  was  also  in  the  Chicago  Opera  Com- 
pany.    See  art. 

*Gebhard,  Heinrich  (b.  Rhine  Prov.,  1878), 
brought  to  Boston  as  a  boy,  studied  there 
and  in  Vienna,  appeared  as  concert-pianist  in 
1900,  and  has  since  lived  in  Boston  as  a  favorite 
player  and  teacher.     See  art. 

Geer,  E.  Harold  (b.  Tabor,  la.,  1886),  grad- 
uated from  Doane  College  in  1906,  studied 
at  Tabor,  Oberlin  and  later  Paris,  from  1907 
taught  at  Lake  Erie  College  in  Ohio,  and  was 
also  organist  in  Cleveland,  from  1909  was  at 
Albion  College  in  Michigan,  in  1911-13  in 
Paris,  from  1913  organist  at  Fall  River,  Mass., 
and  since  1916  has  been  assistant-professor  at 
Vassar  College.     See  art. 

Gehrkens,  Karl  Wilson  (b.  Kelleys  Island, 
O.,  1882),  graduated  from  Oberlin  College  in 
1905,  studied  music  there,  from  1905  was 
supervisor  in  the  local  high  school,  and  since 

1907  has  been  professor  in  the  Conservatory, 
specializing  in  public-school  music.     See  art. 

*Gerville-Reache,  Jeanne  (France,  1882- 
1915,  New  York),  from  1907  was  contralto  at 
the  Manhattan  Opera  House,  in  1911-12  with 
the  Chicago  Opera  Company,  and  in  1913-14 
with  the  (Canadian)  National  Grand  Opera 
Company.  She  also  appeared  in  song-recitals. 
In  1908  she  married  G.  Gibier-Rabeaud. 

Gideon,  Henry  (b.  Louisville,  Ky.,  1877), 
studied  at  Harvard  and  in  Paris,   and  since 

1908  has  been  organist  and  conductor  at 
Boston,  with  lecturing,  writing  and  composi- 
tion.    See  art. 

*GiUbert,  Charles  (France,  1866-1910,  New 
York),  a  noted  opera-baritone  at  Brussels  for 
many  years,  won  much  favor  at  the  Metro- 
politan Opera  House  in  1900-03  and  at  the 
Manhattan  Opera  House  in  1906-10.  He  was 
also  gifted  as  song-interpreter. 

Gilman,  Lawrence  (b.  Flushing,  N.  Y., 
1878),  in  journalistic  work  since  1896,  from 
1901  was  music-critic  for  '  Harper's  Weekly,' 
and  since  1913  has  written  for  '  The  North 
American  Review,'  besides  publishing  many 
valuable  books.     See  art. 

*Gluck,  Alma  (b.  Rumania,  1886),  brought 
to  New  York  as  a  child,  studied  there  and 
later  in  Berlin,  in  1909-12  was  highly  success- 


9:  1900-1910] 


CHRONOLOGICAL  REGISTER 


93 


ful  as  soprano  at  the  Metropolitan  Opera 
House,  and  since  then  has  been  engaged  in 
concert-work.  In  1914  she  married  the  violin- 
ist Zimbalist  (see  sec.  10).     See  art. 

*Goldblatt,  Maurice  Henry  (b.  Russia, 
1883),  came  to  America  when  a  boy,  studied 
in  St.  Loms,  Milwaukee  and  Chicago,  since 
1909  has  taught  violin  at  the  Chicago  Musical 
College,  besides  being  concertmaster  of  the 
Philharmonic  Orchestra,  etc.  He  has  written 
for  the  violin,  'cello  and  orchestra. 

*Goodrich,  Frederick  William  (b.  England, 
1867),  after  much  experience  in  England,  since 
1904  has  been  prominent  as  organist  in  Port- 
land, Ore.,  from  1907  at  St.  Mary's  Cathe- 
dral. He  has  written  church-music,  edited 
the  Oregon  Catholic  Hymnal,  1912,  a  List  of 
Approved  Church  Music,  1912,  and  articles 
on  Catholic  music. 

*Goritz,  Otto  (b.  Prussia,  1873),  the  opera- 
baritone,  from  1903  made  a  fine  impression 
in  Wagnerian  roles  at  the  Metropolitan  Opera 
House,  but  in  1917  became  involved  in  hostile 
political  activity.  See  Baker,  Diet,  of  Mu- 
sicians, pp.  324-5. 

Grasse,  Edwin  (b.  New  York,  1884),  studied 
in  New  York  and  Brussels,  appeared  as 
violinist  in  Berlin  in  1902  and  since  1903  has 
been  much  heard  in  concert  in  New  York  and 
elsewhere.     See  art. 

Griffes,  Charles  Tomlinson  (b.  Elmira, 
N.  Y.,  1884-1920,  New  York),  studied  in  El- 
mira and  Berlin,  taught  for  a  time  in  Berlin, 
and  from  1907  was  teacher  and  composer  in 
New  York.     See  art. 

Grimm,  Carl  Hugo  (b.  Zanesville,  O.,  1890), 
son  of  Carl  W.  Grimm  (see  sec.  8),  trained  in 
Cincinnati,  has  since  1905  been  teacher  and 
organist  there.     See  art. 

Griswold,  Putnam  (Minneapolis,  1875-1914, 
New  York),  after  study  at  London,  Paris, 
Frankfort  and  Berlin,  made  his  d§but  as  opera- 
bass  in  London  in  1901,  in  1904-05  was  with 
the  Savage  Opera  Company,  from  1906  sang 
in  Berlin,  and  from  1911  was  at  the  Metro- 
politan Opera  House  in  New  York,  especially 
excelling  in  Wagner's  works.     See  art. 

*Guttman-Rice,  Melanie  (b.  Austria,  1873), 
in  1904-07  taught  in  the  Metropolitan  School 
of  Opera  in  New  York,  and  since  1905  at  the 
Master  School  of  Music,  Brooklyn,  becoming 
its  head  in  1913. 

*Hagemann,  Richard  (b.  Holland,  1882), 
having  been  conductor  at  Amsterdam,  in 
1906-07  toured  in  America  with  Yvette 
Guilbert  and  Macmillen,  and  since  1907  has 
been  one  of  the  conductors  at  the  Metro- 
politan Opera  House,  as  well  as  since  1916  in 
the  summer  at  Ravinia  Park,  Chicago,  and 
in  1918  for  the  Society  of  American  Singers. 

*Haile,  Eugen  (b.  Wiirtemberg,  1873),  the 
violinist  and  composer,  in  1903-05  conducted 
the  Scranton  Mannerchor,  and  since  1907  has 
lived  mostly  in  New  York,  much  hampered 
after  1912  by  ill-health.  He  has  written 
the  opera  *  Viola  d'Amore  '  (1912),  music  for 


'The    Happy    Ending'    (1916),    and    over    a 
hundred  fine  songs. 

*Hammer,  Heinrich  Albert  Eduard  (b. 
Thuringia,  1862),  for  many  years  conductor  in 
Europe,  since  1908  has  been  active  in  Washing- 
ton, founding  and  conducting  the  Washington 
Symphony  Orchestra  and  choral  societies.  He 
has  written  an  opera,  the  oratorio  '  St.  George,' 
a  symphony,  three  '  Indian  Rhapsodies '  for 
orchestra,  the  ode  '  Colimabia  Triumphant  in 
Peace  '  (1915),  etc. 

*Harker,  F.  Flaxington  (b.  Scotland,  1876), 
in  1901-04  and  1907-14  was  organist  at  Bilt- 
more,  N.  C,  in  1904-07  in  New  York,  and 
since  1914  in  Richmond,  where  he  is  also  choral 
conductor.     See  art. 

Harris,  George,  Jr.  (b.  Andover,  Mass., 
1884),  graduated  from  Amherst  College  in 
1906,  studied  in  Boston  and  Paris,  and  since 
1909  has  been  active  as  concert-tenor,  from 
1916  also  teaching  in  the  Mannes  School  in 
New  York. 

Henry,  Harold  (b.  Neodesha,  Kan.,  1884), 
trained  at  Lawrence,  Kan.,  Berlin  and  Paris, 
appeared  as  pianist  in  Berlin  in  1904,  and 
since  1906  has  toured  the  United  States  and 
Canada  with  notable  success.  His  home  is  in 
Chicago. 

Hering,  John  Norris  (b.  Baltimore,  1886), 
studied  in  Baltimore,  and  since  1901  has  been 
organist  there,  except  in  1909-10,  when  he  was 
in  New  Orleans.  He  has  appeared  often  in 
recitals,  has  taught  in  several  institutions  and 
is  on  the  staff  of  the  daily  '  Star.'     See  art. 

*Hertz,  Alfred  (b.  Hesse,  1872),  in  1902-15 
was  distinguished  conductor  at  the  Metro- 
politan Opera  House  in  New  York,  especially 
of  Wagner's  works,  and  since  1915  has  led 
the  San  Francisco  Orchestra.     See  art. 

*Hope-Jones,  Robert  (England,  1859-1914, 
Rochester),  an  expert  electrician  and  organ- 
maker,  from  1903  worked  with  the  Austins  at 
Hartford,  Conn.,  from  1905  with  Skinner  at 
Boston,  and  from  1907  in  his  own  company  at 
Elmira  and  later  North  Tonawanda,  N.  Y. 
See  art. 

*Horner,  Ralph  Joseph  (b.  England,  1848), 
after  long  English  experience,  from  1906  toured 
the  United  States  as  conductor  of  light  opera, 
and  since  1909  has  been  at  Winnipeg  as  director 
of  the  Academy  of  Music  and  (till  1912)  con- 
ductor of  the  Oratorio  Society.     See  art. 

Howard,  Kathleen  (b.  Clifton,  Ont.,  ?  ), 
after  study  in  New  York  and  Paris,  from  1907 
sang  as  stage-contralto  in  Metz,  Darmstadt 
and  elsewhere,  in  1913-15  was  with  the  Century 
Opera  Company  in  New  York  and  since  1916 
at  the  Metropolitan  Opera  House.     See  art. 

*Huberdeau,  Gustave  (b.  France,  1878?), 
from  1908  was  a  favorite  bass  at  the  Man- 
hattan Opera  House,  and  since  1910  has  been 
with  the  Chicago  Opera  Company. 

Hughes,  Edwin  (b.  Washington,  1884), 
trained  in  New  York  and  Vienna,  in  1909  was 
Leschetizky's  assistant,  in  1910-12  appeared 
in  America    as    concert-pianist,    in    1912-16 


94 


CHRONOLOGICAL  REGISTER 


[9:  1900-1910 


lived  in  Munich,  with  much  concert-work, 
and  since  1916  has  been  in  New  York,  from 
1918  teaching  at  the  Institute  of  Musical  Art. 
See  art. 

*Hutcheson,  Ernest  (b.  Australia,  1871), 
well  known  as  concert-pianist  since  1890,  from 
1900  taught  at  the  Peabody  Conservatory  in 
Baltimore,  in  1912-14  was  teaching  and  tour- 
ing in  Europe,  and  since  1914  has  lived  in 
New  York.     See  art. 

Ide,  Chester  Edward  (b.  Springfield,  111., 
1878),  trained  in  London,  for  many  years 
worked  at  Springfield,  and  since  1916  has 
taught  at  the  Music  School  Settlement  in 
New  York.     See  art. 

*Jacchia,  Agide  (b.  Italy,  1875),  in  1902 
visited  the  United  States  as  conductor  with 
Mascagni,  and  since  1907  has  been  conductor 
of  various  operatic  enterprises  in  different  parts 
of  America.     See  art. 

James,  Philip  (b.  New  York,  1890),  studied 
in  New  York,  from  about  1905  was  organist 
there  and  in  Jersey  City,  in  1908  gave  re- 
citals in  London  and  Paris,  and  has  since 
been  occupied  with  conducting  and  com- 
position.    See  art. 

Jordan,  Eben  Dyer  (Boston,  1857-1916, 
Boston),  from  1880  in  the  firm  of  Jordan, 
Marsh  &  Co.,  in  Boston,  in  1902  was  a  large 
donor  to  the  New  England  Conservatory's 
new  buildings,  including  the  auditorium  '  Jor- 
dan Hall,'  and  in  1909  was  a  leading  promoter 
of  the  Boston  Opera  House. 

*Jorn,  Karl  (b.  Russia,  1876),  the  operatic 
tenor,  has  sung  at  the  Metropolitan  Opera 
House  in  New  York  since  1908  and  also  at 
Buenos  Aires  since  1913. 

*Kahn,  Otto  Hermann  (b.  Baden,  1867), 
engaged  in  banking  in  New  York  since  1893 
(from  1897  in  Kuhn,  Loeb  &  Co.),  since  about 

1900  has  been  eminent  as  patron  and  promoter 
of  important  musical  interests.     See  art. 

*Kefer,  Paul  (b.  France,  1875),  an  ex- 
cellent 'cellist,  in  1908-13  was  leading  player 
in  the  New  York  Symphony  Society,  in  1913, 
with  Barrfere  and  Salzedo,  formed  the  Trio 
de  Lut^ce,  and  has  played  much  in  concert  as 
well  as  teaching. 

*Kelbe,  Theodore  (b.  Brunswick,  1862), 
a   violinist   of   experience   in   Germany,    from 

1901  was  concertmaster  of  the  Milwaukee 
Symphony  Orchestra,  and  since  1904  has 
conducted  the  Sangerbund  des  Nordwostens, 
giving  large  festivals  at  various  centers,  and 
since  1910  has  taught  at  the  Schenuit  Con- 
servatory in  Milwaukee. 

*Klein,  Hermann  (b.  England,  1856),  who 
had  been  music-critic  in  England  from  1877, 
publishing  annual  Musical  Notes,  1886-89, 
was  vocal  teacher  in  New  York  in  1901-09, 
then  returning  to  London,  publishing  Thirty 
Years  of  Musical  Life  in  London,  1903,  and 
Unmusical  New   York,  1909. 

Klein,  Karl  (b.  New  York,  1884),  son  of 
B.  O.  Klein  (see  sec.  6),  studied  in  New  York, 
Leipzig,    Brussels    and    London,    from    1905 


was  concert-violinist  in  Europe,  from  1907 
toured  in  America,  and  in  1911-12  was  concert- 
master  of  the  Russian  Symphony  Orchestra. 

*Kolar,  Victor  (b.  Hungary,  1888,  of  Bo- 
hemian parents),  came  to  America  in  1904 
as  concert-violinist,  from  1905  played  in  the 
Pittsburgh  Orchestra,  and  since  1907  in  the 
New  York  Symphony  Society,  becoming 
assistant-conductor  in  1915.     See  art. 

Kraus,  Adrienne,  nee  Osborne  [Eisbein] 
(b.  Buffalo,  1873),  trained  in  Germany  as 
operatic  contralto,  in  1899  married  the  eminent 
Wagnerian  tenor  Felix  von  Kraus,  and,  after 
wide  tours,  settled  in  Munich,  singing  Wag- 
nerian roles  exclusively. 

*Kriens,  Christiaan  Pieter  Wilhelm  (b.  Hol- 
land, 1881),  favorably  known  as  violinist  since 
1895,  in  1906-07  conducted  the  French  Opera 
Company  in  New  Orleans,  in  1907  came  to 
New  York,  where  in  1911  he  formed  a  Quartet 
and  in  1912  a  Symphony  Club.     See  art. 

LaForge,  Frank  (b.  Rockford,  III.,  1879), 
studied  in  Chicago  and  Vienna,  and  since  1904 
has  been  emizient  as  accompanist  and  com- 
poser of  songs  and  piano-pieces.     See  art. 

Lambord,  Benjamin  (Portland,  Me.,  1879- 
1915,  Lake  Hopatcong,  N.  Y.),  studied  in 
Boston,  New  York  and  abroad,  from  1904 
was  organist  at  Kingsbridge,  N.  Y.,  and  in 
1912  organized  a  choral  society  which  in  1914 
became  the  Modern  Music  Society.     See  art. 

*Langenus,  Gustav  (b.  Belgium,  1883),  for 
about  ten  years  has  been  leading  clarinettist 
in  the  New  York  Symphony  Society  and  in- 
structor at  the  Institute  of  Musical  Art.  In 
1915,  with  Carolyn  Beebe,  he  organized  the 
Chamber  Music  Society  and  was  its  conductor 
one  season,  and  in  1916  conducted  municipal 
baud-concerts.  He  has  written  instruction- 
books  for  the  clarinet. 

Lanham,  McCall  (b.  Weatherford,  Tex., 
1877),  trained  in  New  York  and  Paris,  since 
1901  has  appeared  widely  as  concert-baritone, 
especially  as  song-interpreter,  and  since  1902 
has  taught  at  the  American  Institute  of  Ap- 
plied Music  in  New  York. 

LaRoss,  Earle  Douglass  (b.  Easton,  Pa., 
1887),  studied  in  New  York,  from  1906  ap- 
peared as  concert-pianist,  and  since  1914  has 
conducted  the  Easton  Symphony  Orchestra. 

*Laucella,  Nicola  (b.  Italy,  1882),  came 
to  New  York  in  boyhood  and  studied  there, 
from  1903  was  flutist  in  the  Pittsburgh  Or- 
chestra, and  since  1906  in  the  New  York  Phil- 
harmonic Society.  He  has  written  a  string- 
quartet,  several  orchestral  poems  or  sketches, 
and  the  opera  '  MochanJl.' 

*Lemare,  Edwin  Henry  (b.  England,  1865), 
the  distinguished  organist,  in  1902-05  was 
organist  at  the  Carnegie  Institute  in  Pitts- 
burgh, in  1915  gave  many  recitals  at  the 
Panama  Exposition  in  San  Francisco,  and 
since  1917  has  been  city  organist  there.  See 
Vol.  ii.  673,  and  art. 

Lemont,  Cedric  Wilmot  (b.  Fredericton,  N.  B., 
1879) ,  studied  in  .Boston,  from  1904  was  or- 


9:  1900-1910] 


CHRONOLOGICAL  REGISTER 


95 


ganist  and  teacher  in  Fredericton,  and   since 

1906  has  been  teacher  and  a  director  in  the 
Chicago  Institute  of  Music,  composing  for 
piano  and  viohn,  church-music  and  songs. 

*Lerner,  Tina  (b.  Russia,  1890),  a  gifted 
pianist,  toured  in  the  United  States  in  1908- 
10  and  repeatedly  since  1912.  In  1915  she 
married  the  violinist  Vladimir  Shavitch  in 
San  Francisco.     See  art. 

*Letz,  Hans  (b.  Baden,  1887),  from  1908 
appeared  often  as  concert-violinist,  from  1911 
was  concertmaster  of  the  Chicago  Symphony 
Orchestra,  from  1914  second  violin  in  the 
Kneisel  Quartet,  and  since  1917  has  been 
head  of  his  own  Quartet. 

Levy,  Heniot  (b.  Poland,  1879),  since  1905 
has  been  concert-pianist  in  Chicago,  teaching 
also  in  the  American  Conservatory.     See  art. 

Locke,  Arthur  Ware  (b.  Cambridge,  Mass., 
1883),  graduated  from  Harvard  in  1905, 
studied  in  Boston,  in  1909-10  was  instructor 
in  Brown  University,  in  1910-11  piano-teacher 
at  Washburn  College  in  Kansas,  from  1911 
assistant-professor  at  the  University  of  Wis- 
consin, and  since  1915  at  Smith  College. 

Lockwood,  Samuel  Pierson  (b.  Troy,  N.  Y., 
1879),  brother  of  A.  L.  Lockwood  (see  sec.  8), 
graduated  from  Columbia  in  1902,  and  since 

1907  has  been  violin-teacher  at  the  University 
of  Michigan  and  conductor  of  the  Symphony 
Orchestra  there. 

Loeb,  James  (b.  New  York,  1867),  for  a  time 
a  member  of  the  New  York  banking  firm  of 
Kuhn,  Loeb  &  Co.,  in  1905  gave  $500,000  for 
the  establishment  of  the  Institute  of  Musical 
Art,  and  later  was  chief  donor  of  the  Musical 
Building  at  Harvard  University. 

Loring,  Harold  Amasa  (b.  Portland,  Me., 
1879),  trained  in  Boston  and  New  York,  since 
about  1905  has  been  a  student  of  and  lecturer 
upon  Indian  music,  having  spent  seven  years 
on  reservations  collecting  data.  He  is  also 
director  of  music  at  Olivet  College  in  Michigan. 
He  has  transcribed  Indian  melodies. 

Loth,  Louis  Leslie  (b.  Richmond,  Va.,  1888), 
studied  in  New  York  and  Berlin,  since  1908 
has  appeared  as  concert-pianist,  chiefly  in 
Germany,  where  he  was  assistant-teacher  to 
Jonds  prior  to  1914,  when  he  returned  to 
Richmond.  He  has  written  two  symphonies, 
much  chamber-music,  piano-pieces  and  songs. 

*Maclennan,  Florence  Gertrude,  nee  Easton 
(b.  England,  1884),  came  as  a  child  to  Toronto, 
studied  in  London,  Paris  and  Berlin,  made  her 
debut  as  operatic  soprano  in  London  in  1903, 
married  the  tenor  Francis  Maclennan  in  1904, 
and  has  since  appeared  extensively  with  him 
in  America  and  Europe.     See  art. 

Maclennan,  Francis  (b.  Bay  City,  Mich., 
1879),  trained  in  New  York,  London  and 
Berlin,  appeared  as  operatic  tenor  in  London 
in  1902,  from  1904  was  with  the  Savage  Opera 
Company,  from  1907  sang  at  the  Royal  Opera, 
Berlin,  from  1913  at  Hamburg,  and  in  1915-17 
with  the  Chicago  Opera  Company.  He  married 
Florence  Easton  (see  above).     See  art. 


Macmillen,  Francis  (b.  Marietta,  O.,  1885), 
trained  in  Chicago,  Brussels  and  Petrograd, 
made  a  brilliant  debut  as  violinist  at  Brussels 
in  1903,  at  London  the  same  year  and  in  New 
York  in  1906,  and  has  since  made  repeated 
tours  in  America  and  Europe.     See  art. 

*Mahler,  Gustav  (Bohemia,  1860-1911, 
Austria),  the  eminent  composer  and  con- 
ductor, from  1907  was  conductor  at  the 
Metropolitan  Opera  House,  and  from  1909 
of  the  Philharmonic  Society,  resigning  for 
ill-health  in  1911.     See  Vol.  iii.  27-8,  and  art. 

Maitland,  Rollo  Francis  (b.  near  Liberty,  Pa., 
1884),  trained  in  Philadelphia,  since  1901  has 
been  organist  there,  lately  giving  much  atten- 
tion to  music  for  photoplays,  with  critical  work 
and  composition. 

Marcel,  Lucille  [name  originally  Wasself] 
(b.  New  York,  1887?),  trained  as  operatic  so- 
prano in  New  York,  Berlin  and  Paris,  ap- 
peared first  at  Vienna  in  1908,  married  the 
conductor  and  composer  Felix  Weingartner|in 
1913,  and  has  since  sung  under  his  direction. 
In  1912  she  visited  America. 

*Marks,  James  Christopher  (b.  Ireland, 
1863),  from  1902  was  organist  in  Pittsburgh, 
and  since  1904  has  been  at  the  Church  of  the 
Heavenly  Rest  in  New  York.  He  has  written 
the  cantata  '  Victory  Divine  '  and  many 
anthems  and  services.  Mus.  D.  of  the  Grand 
Conseratory,  New  York,  in  1908. 

Martens,  Frederick  Herman  (b.  New  York, 
1874),  studied  in  New  York,  and  since  1907  has 
been  librettist  and  author  there.     See  art. 

Martin,  Riccardo  [originally  Hugh  Whitfield 
Martin]  (b.  Hopkinsville,  Ky.,  1881),  trained 
at  New  York  and  Paris,  appeared  as  operatic 
tenor  in  1904  at  Nantes,  in  1905  at  Verona 
and  in  1906  at  New  Orleans,  from  1907  sang 
at  the  Metropolitan  Opera  House,  with  en- 
gagements also  in  Europe,  and  in  1916-17  was 
with  the  Boston  Opera  Company.     See  art. 

Maryott,  Harold  Burnham  (b.  Lonsdale, 
R.  I.,  1878),  graduated  from  Brown  University 
in  1900,  studied  in  Chicago,  and  since  1902 
has  been  head  of  public-school  work  at  the 
Chicago  Musical  College.  He  has  published 
the  text-book  Musical  Essentials,  1907. 

Mason,  Daniel  Gregory  (b.  Brookline, 
Mass.,  1873),  son  of  Henry  Mason  (see  sec. 
4),  graduated  from  Harvard  in  1895,  studied 
in  Boston  and  Paris,  and  since  1902  has  been  a 
prominent  author,  lecturer  and  composer  in 
New  York,  latterly  also  professor  at  Columbia 
University.     See  art. 

*Maubourg[-Gofifaux],  Jeanne  (b.  Belgium, 
1875),  from  1909  was  one  of  the  sopranos  at 
the  Metropolitan  Opera  House,  and  since  1914 
has  taught  in  New  York. 

Maxwell,  Leon  Ryder  (b.  Medford,  Mass., 
1883),  graduated  from  Tufts  College  in  1904, 
studied  there  and  in  Boston,  from  1905  was 
supervisor  in  schools  near  Boston,  studied 
abroad,  and  since  1909  has  been  professor  and 
from  1910  head  of  the  music-department  in 
Newcomb  College  in  New  Orleans.     See  art. 


96 


CHRONOLOGICAL  REGISTER 


[9:  1900-1910 


*McCormack,  John  (b.  Ireland,  1884),  the 
eminent  tenor,  in  1909-10  sang  at  the  Man- 
hattan Opera  House,  in  1910-11  with  the 
Boston  Opera  Company,  in  1912-13  with  the 
Chicago  Opera  Company,  and  has  since  been 
heard  in  concert.     See  Vol.  v.  652,  and  art. 

*Melis,  Carmen  (b.  Sardinia,  1885),  was 
from  1909  a  soprano  at  the  Manhattan  Opera 
House,  from  1911  with  the  Boston  Opera 
Company,  and  since  1913  at  the  Paris  Opera 
or  the  Metropolitan  Opera  House. 

*Meyer,  Max  Friedrich  (b.  Prussia,  1873), 
since  1900  professor  of  psychology  at  the 
University  of  Missouri,  has  been  specially 
interested  in  problems  of  musical  theory,  and 
has  written  articles  upon  musical  acoustics, 
instruments,  etc. 

Michalek,  Bohumil  (b.  Chicago,  1885), 
studied  mainly  in  Brussels  and  Prague,  from 
1906  was  concertmaster  at  the  Prague  Opera 
and  also  assistant  to  Sevcik,  and  since  1908 
has  been  head  of  his  own  Master  School  for 
Violinists  in  Chicago. 

Middleton,  Arthur  D.  (b.  Logan,  la.,  1880), 
studied  at  Simpson  College  in  Iowa,  beginning 
vocal  teaching  and  concert-work  as  baritone 
while  still  a  student,  in  1905-06  taught  at  the 
Des  Moines  Musical  College,  in  1906-11  at 
the  Chicago  Musical  College,  and  since  1914 
has  sung  at  the  Metropolitan  Opera  House. 

Miessner,  W.  Otto  (b.  Huntingburg,  Ind., 
1880),  trained  in  Cincinnati,  from  1900  was 
music-supervisor  at  Booneville,  Ind.,  from 
1904  at  Connersville,  Ind.,  from  1910  at  Oak 
Park,  111.,  and  since  1914  has  been  music- 
director  at  the  State  Normal  School  in  Mil- 
waukee.    See  art. 

Miller,  Horace  Alden  (b.  Rockford,  111., 
1872),  graduated  from  Cornell  College  in 
Iowa  in  1896,  studied  at  Oberlin  and  later  in 
Munich  and  Berlin,  since  1905  has  been  in- 
structor at  Cornell  College,  besides  making 
special  studies  of  Indian  music  and  composing 
on  Indian  themes.     See  art. 

Montani,  Nicola  Aloysius  (b.  Utica,  N.Y., 
1880),  studied  in  Rome  and  with  Mocquereau 
(Isle  of  Wight) ,  and  since  1907  has  been  organist 
in  Philadelphia.  In  1914  he  organized  the 
Society  of  St.  Gregory  to  promote  Gregorian 
music  in  the  Roman  Catholic  Church,  and 
a  Catholic  Choral  Club,  besides  editing  '  The 
Catholic  Choir-master.'  He  has  written  two 
masses,  a  Stabat  Mater,  motets,  etc. 

Moog,  Wilson  Townsend  (b.  Baltimore, 
1881),  graduated  from  St.  Lawrence  University 
in  1902,  studied  at  New  Haven  and  Boston, 
from  1904  was  organist  in  Boston,  in  1907-08 
taught  at  Westminster  College  in  Pennsyl- 
vania, and  since  1906  has  been  professor  at 
Smith  College.  He  has  composed  an  overture 
(1916),  and  works  for  organ,  piano  and  voice. 

Moore,  Mary,  nee  Carr,  in  1912  produced 
at  Seattle  the  grand  opera  '  Narcissa  '  with 
success.     She  has  also  written  songs. 

Morse,  Charles  Frederic  (b.  Mishawaka, 
Tnd.,   1881),  trained  at  Ann  Arbor,   Detroit 


and  Paris,  from  1902  was  music-director  at 
the  State  Normal  School,  California,  Pa., 
from  1907  organist  in  Pittsburgh,  and  since 
1909  at  Detroit,  where  he  teaches  in  the 
Institute  of  Musical  Art  and  conducts  the 
Orpheus  and  Madrigal  Clubs. 

*Muck,  Karl  (b.  Hesse,  1859),  the  celebrated 
conductor,  was  conductor  of  the  Boston 
Symphony  Orchestra  in  1906-08  and  in 
1912-18,  when  he  was  interned  as  an  enemy 
alien,  and  in  1919  returned  to  Germany.  See 
Vol.  iii.  314,  and  art. 

*Mukle,  May  Henrietta  (b.  England,  1880), 
since  1900  has  toured  as  concert-' cellist  in 
the  United  States  and  Canada,  and  joined 
with  Maud  Powell  and  her  own  sister  in  the 
Maud  Powell  Trio.     See  art. 

*Narodny,  Ivan  (b.  Russia,  1874),  since 
about  1905  has  written  upon  Russian  music 
in  New  York  and  also  upon  dancing.  He 
published  Echoes  of  Myself,  1909,  and  con- 
tributed to  The  Art  of  Music,  1914-17.  His 
wife,  Maria  Narodny,  n6e  Mieler  (b.  Russia, 
1888),  is  a  concert-soprano,  specializing  in 
Russian  and  Finnish  music. 

Newcomb,  Ethel  (b.  Whitney  Point,  N.  Y., 
1879),  trained  at  Vienna,  making  her  debut 
there  as  concert-pianist  in  1903  and  in  London 
in  1904,  from  1904  assisted  Leschetizky,  and 
since  1908  has  appeared  in  America  and  Ger- 
many as  an  effective  soloist  and  ensemble- 
player. 

*Noack,  Sylvain  (b.  Holland,  1881),  in 
1908  joined  the  Boston  Symphony  Orchestra 
as  second  concertmaster,  in  1915  formed  the 
Boston  Quartet,  and  since  1919  has  been 
concertmaster  of  the  Los  Angeles  Philharmonic 
Orchestra.     See  art. 

Norden,  N.  Lindsay  (b.  Philadelphia,  1887), 
graduated  from  Columbia  in  1909,  from  1905 
was  choirmaster  in  Brooldyn  and  from  1909 
organist  there,  and  since  1917  has  been  organist 
and  conductor  in  Philadelphia.  He  is  active 
in  promoting  Russian  church  music.     See  art. 

Osborn-Hannah,  Jane  (b.  Chicago,  1880?), 
studied  at  Cincinnati  and  Berlin,  made  her 
debut  as  operatic  soprano  at  Leipzig  in  1904, 
continued  singing  in  Germany  and  England, 
both  in  opera  and  in  concert,  in  1910  appeared 
at  the  Metropolitan  Opera  House,  and  has 
since  been  with  the  Chicago  Opera  Company. 

Parker,  Henry  Taylor  (b.  Boston,  1867), 
from  1892  was  in  active  journalistic  work,  and 
since  1905  has  been  musical  and  dramatic 
critic  of  the  Boston  '  Transcript,'  besides 
writing    somewhat    for   magazines. 

Parkinson,  Elizabeth  ['  Parkina  ']  (b.  Mis- 
souri, 1882),  studied  in  Kansas  City  and  Paris, 
from  1902  was  soprano  at  the  Opera-Comique 
in  Paris,  in  1904-07  in  London,  with  a  striking 
tour  in  Australia  in  1905,  and  has  since  been 
a  favorite  concert-singer  in  England. 

Parlow,  Kathleen  (b.  Calgary,  Alberta,  1890), 
studied  violin  in  San  Francisco,  London  and 
Petrograd,  and  from  1905  appeared  in  Europa 
and  since  1910  also  in  America.     See  art. 


9:  1900-1910] 


CHRONOLOGICAL  REGISTER 


97 


*Pedrell,  Carlos  (b.  Uruguay,  1878),  studied 
in  Montevideo,  Madrid  and  Paris,  since  1906 
has  been  teacher,  composer  and  organizer  at 
Buenos  Aires.     See  art. 

*Perrin,  Harry  Crane  (b.  England,  1865), 
after  many  years'  experience  as  organist  in 
England,  since  1908  has  been  professor  in 
McGill  University  in  Montreal.     See  art. 

Persinger,  Louis  (b.  Rochester,  III,  1S87), 
studied;  as  violinist  at  Leipzig,  and  later  at 
Brussels  and  Paris,  appeared  first  in  1904 
abroad  and  in  America,  in  1908  was  concert- 
master  at  La  Monnaie,  Brussels,  in  1914-15  of 
the  Berlin  Philharmonic,  and  in  1915-17  of  the 
San  Francisco  Symphony  Orchestra,  and  has 
made  many  tours  throughout  the  United  States 
and  Europe. 

*PhiIlips,    Harold    Dockray     (b.    England, 

?  ),  from  1903  was  organist  in  Toronto,  and 
since  1906  has  taught  organ  and  history  in 
the  Peabody  Conservatory  in  Baltimore,  be- 
sides activity  as  organist  and  critic.     See  art. 

Pilzer,  Maximilian  (b.  New  York,  1890), 
studied  violin  in  Berlin  and  appeared  there  in 
1904.  From  1904  he  was  concertmaster  of  the 
Russian  Symphony  and  People's  Orchestras 
in  New  York,  in  1914-17  of  the  Philharmonic 
Society,  and  has  since  been  in  concert-work. 

*Pirani,  Eugenic  di  (b.  Italy,  1852),  known 
in  Europe  from  1870  as  pianist,  teacher  and 
critic,  in  1904-14  was  associated  with  Mrs. 
A.  W.  Powell  (see  below)  in  directing  the 
Musical  Institute  in  Brooklyn.     See  art. 

*Pochon,  Alfred  (b.  Switzerland,  1878), 
since  1903  has  been  second  violin  in  the  Flon- 
zaley  Quartet. 

*Polacco,  Giorgio  (b.  Italy,  1875),  an  emi- 
nent conductor,  in  1906  visited  Mexico  and 
San  Francisco,  in  1911-12  was  with  the 
Savage  Opera  Company,  and  since  1912  has 
been  with  the  Metropolitan  Opera  House  in 
New  York  and  also  at  Covent  Garden  in 
London.     See  art. 

Powell,  Alma  Webster,  n6e  Hall  (b.  Chicago, 
1874),  studied  in  New  York  and  Berlin,  ap- 
peared as  operatic  soprano  at  Berlin  in  1901, 
in  1904  joined  E.  di  Pirani  (see  above)  in 
managing  the  Musical  Institute  in  Brookljm. 
See  art. 

Powell,  John  (b.  Richmond,  Va.,  1882), 
graduated  from  the  University  of  Virginia 
in  1901,  studied  in  Vienna,  appeared  there  as 
concert-pianist  in  1907,  and  since  1912  has 
been  heard  in  America.  As  composer  he  is 
specially  interested  in  Negro  and  American 
themes.     See  art. 

*Rachmaninov,  Sergei  Vassilievitch  (b.  Rus- 
sia, 1873),  the  distinguished  pianist  and  com- 
poser, came  to  America  in  1909-10,  and  since 
the  war  has  lived  much  in  New  York.    See  art. 

Rappold,  Marie,  nee  Winterroth  (b.  Brook- 
lyn, 1880?),  studied  in  New  York,  and  since 
1905  has  been  with  the  Metropolitan  Opera 
House  as  a  leading  soprano.     See  art. 

Rich,  Thaddeus  (b.  Indianapolis,  1885),  grad- 
uated at  the  Leipzig  Conservatory  in  1900,  with 


further  study  at  Berlin,  was  violinist  in  the 
Gewandhaus  Orchestra  and  later  concertmaster 
at  the  Opera  des  Westens,  Berlin,  and  returned 
to  America  in  1905.  Since  1906  he  has  been 
concertmaster  of  the  Philadelphia  Orchestra. 
He  is  also  music-director  at  Temple  University. 
See  art. 

*Richardson,  Alfred  Madeley  (b.  England, 
1868),  who  since  1897  had  been  a  prominent 
organist  in  London,  from  1909  was  organist  in 
Baltimore,  and  since  1912  has  been  theory- 
teacher  at  the  Institute  of  Musical  Art,  New 
York.     See  art. 

Rider-Kelsey,  Corinne  (b.  near  Buffalo, 
1879),  trained  at  Oberlin,  Chicago  and  New 
York,  appeared  in  oratorio  in  1904  and  (in 
London)  in  opera  in  1908,  and  has  since  been 
a  popular  concert-soprano.  She  has  given 
notable  duet-recitals  with  Cunningham,  the 
baritone  (see  above). 

Rio,  Anita  (b.  Alameda,  Cal.,  1880),  studied 
in  San  Francisco  and  New  York,  made  her 
debut  as  soprano  in  oratorio  in  1901  and  in 
opera  in  1909  (in  London) ,  sang  and  studied 
in  Italy,  and  since  1914  has  been  successful 
in  America,  especially  in  concert.  She  mar- 
ried J.  Armour  Galloway  of  New  York. 

*Rittmeister,  Heinrich  (b.  Bremen,  1881), 
has  been  successively  concertmaster  of  the 
Minneapolis  Sj^mphony  Orchestra,  the  Russian 
Symphony  Orchestra  in  New  York,  and  now  of 
the  Kansas  City  Symphony  Orchestra. 

Robeson,  Lila  P.  (b.  Cleveland,  1880), 
graduated  from  Western  Reserve  University 
in  1902,  studied  in  Cleveland  and  New  York, 
was  at  first  contralto  in  church  and  concert, 
and  since  1911  also  in  opera,  with  the  Aborn 
Opera  Company  and  from  1912  at  the  Metro- 
politan Opera  House. 

*Rothwell,  Walter  Henry  (b.  England,  1872), 
an  experienced  conductor,  from  1904  was  with 
the  Savage  Opera  Company,  from  1908  led  the 
St.  Paul  Symphony  Orchestra,  from  1915  was 
teacher  and  municipal  conductor  in  New 
York,  and  since  1919  has  led  the  Los  Angeles 
Pliilharmonic  Orchestra.     See  art. 

*Rybner,  Peter  Martin  Cornelius  (b.  Den- 
mark, 1855),  noted  as  pianist  and  conductor, 
in  1904-19  was  professor  at  Columbia  Uni- 
versity.    See  art. 

*Saerchinger,  Cesar  (b.  Rhine  Prov.,  1884), 
studied  partly  in  New  York,  where  since  1906 
he  has  been  an  industrious  editor  and  valuable 
writer  on  musical  subjects.     See  art. 

*Safonov,  Vassily  Ilyitch  (Caucasus,  1852- 
1918,  Caucasus),  well  known  as  pianist,  teacher 
and  conductor  since  1880,  in  1904-09  con- 
ducted the  New  York  Philharmonic  Society 
and  was  head  of  the  National  Conservatory, 
then  returning  to  Petrograd.  See  Vol.  v.  626, 
and  art. 

Saltzman-Stevens,  Minnie  (b.  Bloomington, 
111.,  1885?),  first  sang  in  Chicago  churches, 
studied  in  Paris,  made  her  debut  as  operatic 
soprano  in  1909  in  London,  sang  in  various 
European  capitals,  and  in  1911-14  was  with  the 


98 


CHRONOLOGICAL  REGISTER 


[9:  1900-1910 


Chicago  Opera  Company.  In  1905  she  mar- 
ried A.  N.  Stevens  of  Bloomington.     See  art. 

Samaroff,  Olga,  nee  Hickenlooper  (b.  San 
Antonio,  Tex.,  1882),  studied  at  Philadelphia, 
Baltimore,  Paris  and  Berlin,  from  1905  began 
to  tour  the  United  States  as  concert-pianist, 
appearing  also  in  Europe  in  1908-09,  in  1912- 
14  was  interrupted  by  ill-health,  but  then 
resumed  activity.  In  1911  she  married  the 
conductor  Stokowski  (see  below).     See  art. 

*Sampaix,  Leon  (b.  Belgium,  1878),  from 
1900  was  piano-teacher  at  the  Peabody  Con- 
servatory in  Baltimore,  from  1904  at  the  Lifege 
Conservatory,  from  1910  in  his  own  school  in 
Indianapolis,  then  at  Ithaca,  N.  Y.,  and  is 
now  head  of  the  Toledo  Conservatory. 

Schelling,  Ernest  Henry  (b.  Belvidere,  N. 
J.,  1876),  studied  extensively  in  Europe,  from 
1903  appeared  as  concert-pianist  there,  in 
South  America  and  from  1905  in  the  United 
States,  making  his  home  until  1914  in  Switzer- 
land.    See  art. 

*Schindler,  Kurt  (b.  Prussia,  1882),  from 
1905  was  assistant-conductor  at  the  Metro- 
politan Opera  House  in  New  York,  and  since 

1907  has  been  reader  for  Schirmer  and  since 

1908  also  conductor  of  the  Schola  Cantorum 
(originally  the  MacDowell  Chorus).     See  art. 

Schnabel-ToUefsen,  Augusta  (b.  Boise, 
Ida.,  1885),  studied  in  Europe,  where  she  was 
known  as  a  child-prodigy,  toured  in  the 
United  States  in  1900-01,  studied  further  in 
New  York,  and  since  1906  has  been  prominent 
as  pianist,  especially  in  the  Tollefsen  Trio,  led 
by  her  husband,  Carl  Tollefsen  (see  below). 

Schneider,  Edward  Faber  (b.  Omaha,  Neb., 
1872),  studied  at  San  Jose,  San  Francisco, 
New  York  and  Berlin,  and  since  about  1900  has 
been  teacher  and  composer  in  San  Francisco 
and  dean  of  music  at  Mills  College.  He  has 
written  for  the  Bohemian  Club  the  dramas 
'  The  Triumph  of  Bohemia '  (1907)  and 
'  Apollo  '  (1915),  the  symphony  '  In  Autumn 
Time  '  (1913),  and  effective  shorter  works. 

*Schuecker,  Joseph  E.  (b.  Saxony,  1886), 
son  of  Edmund  Schuecker  (see  sec.  8),  in 
1904-05  and  1908-09  harpist  in  the  Pittsburgh 
Orchestra,  from  1909  was  in  the  Philadelphia 
Orchestra,  from  1911  with  the  Savage  Opera 
Company,  and  since  1914  has  taught  at  the 
Carnegie  Institute  of  Technology,  Pittsburgh. 

Schwab,  Charles  M.  (b.  Williamsburg,  Pa., 
1862),  the  head  of  the  Bethlehem  (Pa.)  Steel 
Works,  in  1905  became  guarantor  of  the  Lehigh 
Valley  Symphony  Orchestra,  and  since  1911 
has  been  the  munificent  supporter  of  the  Beth- 
lehem Bach  Choir. 

Scott,  Henri  Guest  (b.  Coatesville,  Pa., 
1876),  trained  in  Philadelphia  and  New  York, 
from  about  1900  appeared  as  concert-bass,  in 
1909-10  sang  at  the  Manhattan  Opera  House, 
in  1910-11  in  Rome,  from  1911  with  the 
Chicago  Opera  Company,  and  since  1915  at 
the  Metropolitan  again.  See  art. 
[.  Shattuck,  Arthur  (b.  Neenah,  Wis.,  1881), 
studied  at  Vienna,  from  1902  became  known 


as  a  striking  pianist,  making  extended  toura 
from  Paris  as  center  and  visited  the  United 
States  in  1911-12  and  since  1915.     See  art. 

Silber,  Sidney  (b.  Waupun,  Wis.,  1881), 
trained  in  Berlin  and  Vienna,  since  1905  has 
been  concert-pianist  both  in  Europe  and 
America,  and  latterly  has  taught  in  the  Uni- 
versity School  of  Music,  Lincoln,  Neb.  He 
has  lectured  and  written  many  articles  on 
musical  subjects. 

Simpson,  George  Elliott  (b.  Orange,  N.  J., 
1876),  studied  in  New  York,  Kansas  City  and 
Leipzig,  from  1903  taught  in  Kansas  City,  from 

1907  at  Baylor  Female  College,  Belton,  Tex., 
from  1912  at  the  Polytechnic  College  in  Fort 
Worth  and  later  in  the  Texas  Christian 
University  there.  He  has  written  two  sym- 
phonies, four  overtures,  three  suites,  etc. 

*Skovgaard,  Axel  (b.  Denmark,  1875),  after 
tours  in  Scandinavian  countries,  since  1903 
has  been  an  industrious  concert-violinist  in  the 
United  States  and  Canada. 

Smith,  David  Stanley  (b.  Toledo,  O.,  1877), 
graduated  from  Yale  in  1900,  studied  music 
there  and  in  Munich  and  Paris,  since  1903  has 
been  at  the  Yale  School  of  Music,  and  from 
1920  its  dean,  with  work  also  as  organist, 
conductor  and  lecturer  elsewhere.     See  art. 

Smith,  Thomas  Max  (b.  New  York,  1874), 
graduated  from  Yale  in  1898  and  from  Colum- 
bia Law  School  in  1901,  studied  in  New  York, 
New  Haven  and  Dresden,  from  1903  was 
music-critic  of  the  New  York  '  Press,'  and 
since  1916  of  the  '  American.'  He  was  on 
the  advisory  board  of  The  Art  of  Music, 
1914-17. 

Spalding,  Albert  (b.  Chicago,  1888),  trained 
as  violinist  in  Florence  and  Paris,  from  1905 
was  eminent  as  soloist  in  Europe  and  since 

1908  has  been  equally  so  in  America.    See  art. 
*Spencer,  Vernon  (b.  England,  1875),  from 

1903  taught  piano  at  the  Nebraska  Wesleyan 
University,  from  1908  in  Berlin,  and  since 
1911  has  been  teacher,  concert-pianist  and 
lecturer  in  Los  Angeles.  Besides  other  literary 
work,  he  edits  '  The  Music-Student.' 

Stockhofif,  Walter  William  (b.  St.  Louis, 
1887),  self-taught,  has  been  teacher  and  com- 
poser in  St.  Louis  since  1904.     See  art. 

*Stojowski,  Sigismund  Denis  Antoine  (b. 
Poland,  1870),  well  known  in  Paris  as  pianist 
and  composer  since  about  1890,  from  1905 
taught  at  the  Institute  of  Musical  Art  in  New 
York,  with  concert-work  elsewhere  and  some 
trips  to  Europe,  from  1911  at  the  Von  Ende 
School,  and  since  1917  privately.     See  art. 

*Stokowski;  Leopold  Anton  Stanislaw  (b. 
England,  1882,  of  Polish  parents),  from  1905 
was  organist  in  New  York,  in  1908  conducted 
orchestral  concerts  in  London,  from  1909 
was  conductor  of  the  Cincinnati  Orchestra, 
and  since  1912  of  the  Philadelphia  Orchestra. 
In  1911  he  married  the  pianist  Olga  Samaroff 
(see  above).     See  art. 

Strickland,  Lily  Teresa  (b.  Anderson,  S.  C, 
1887),  studied  at  Converse  College  in  South 


9:  1900-1910] 


CHRONOLOGICAL  REGISTER 


99 


Carolina  and  in  New  York,  in  1907-10  was 
organist  at  Anderson,  and  since  1911,  when 
she  married  Courtney  Anderson,  has  lived 
in  New  York.  She  has  written  three  operas, 
a  symphonic  suite  on  Negro  themes,  and 
published  about  75  songs. 

*Sturani,  Giuseppe  (b.  Italy,  ?  ),  from 
about  1905  was  operatic  conductor  in  Buenos 
Aires  and  Rio  de  Janeiro,  from  1908  at  the 
Manhattan  Opera  House,  from  1910  at  the 
Metropolitan  Opera  House,  and  since  1912  with 
the  Chicago  Opera  Company. 

Swarthout,  Max  van  Lewen  (b.  Pawpaw, 
111.,  1880),  studied  at  Chicago  and  Leipzig, 
from  1905  was  music-director  at  the  Oxford 
College  for  Women  in  Ohio,  from  1911  taught 
at  the  Illinois  Woman's  College  in  Jackson- 
ville, and  since  1914  has  been  music-director 
at  the  James  Millikin  University. 

Taylor,  David  Clark  (New  York,  1871- 
1918,  New  York),  graduated  from  the  College 
of  the  City  of  New  York,  studied  there,  and 
from  1908  published  several  valuable  works 
on  singing.     See  art. 

*Tetrazzini,  Luisa  (b.  Italy,  1874),  the 
celebrated  operatic  soprano,  having  been 
heard  in  South  America  and  Mexico,  in  1904 
appeared  at  San  Francisco,  in  1905-06  was 
again  in  South  America,  in  1908-10  was  at 
the  Manhattan  Opera  House,  in  New  York, 
then  toured  extensively,  in  1913-14  was  with 
the  Chicago  Opera  Company.     See  art. 

Thatcher,  Howard  Rutledge  (b.  Baltimore, 
1878),  studied  in  Baltimore,  and  since  1902 
has  been  organist  there,  also  teaching  at  the 
Peabody  Conservatory  and  the  Maryland 
College  for  Women  at  Lutherville.  He  has 
written  a  concert-overture  (1906),  a  string- 
quartet,   synagogue-music,  etc. 

*Thibaud,  Jacques  (b.  France,  1880),  the 
eminent  violinist,  since  1903  has  made  several 
tours  of  the  United  States.  See  Vol.  v.  83, 
and  art. 

*Tollefsen,  Carl  Henry  (b.  England,  1882), 
came  to  America  in  boyhood,  studied  in  New 
York,  in  1908-10  was  violinist  in  the  Symphony 
Society,  in  1909  organized  the  Tollefsen  Trio, 
has  taught  in  the  National  Conservatory,  and 
now  teaches  in  Brooklyn.  In  1907  he  married 
Augusta  Schnabel  (see  above).     See  art. 

*Toscaiiini,  Arturo  (b.  Italy,  1867),  the 
noted  operatic  conductor,  in  1908-15  was 
famous  as  conductor  at  the  Metropolitan 
Opera  House  in  New  York,  then  returning  to 
Italy.     See  art. 

Tramonti,  Enrico  (b.  Sicily,  1876),  since 
1902  has  been  leading  harpist  of  the  Chicago 
Symphony  Orchestra. 

*Unschuld,  Marie  von  (b.  Moravia,  1881), 
since  1904  has  been  head  of  her  own  school 
in  Washington,  besides  lecturing  elsewhere. 
See  art. 

Van  Vechten,  Carl  (b.  Cedar  Rapids,  la., 
1880),  graduated  from  the  University  of 
Chicago  in  1903,  and  has  since  been  critic  and 
author  in  New  York.     See  art. 


*Vigna,  Arturo  (b.  Italy,  ?  ),  was  con- 
ductor at  the  Metropolitan  Opera  House  in 
New  York  in  1903-07. 

Waller,  Frank  Laird  (b.  St.  Paul,  ?  ),  a 
graduate  of  the  University  of  Wisconsin, 
began  as  teacher  and  opera-singer  in  1908,  and 
in  1909-15  was  coach  and  accompanist  with 
the  Boston  Opera  Company  and  in  1917-18 
with  the  Chicago  Opera  Company. 

Ware,  Harriet  (b.  Waupun,  Wis.,  1877), 
having  studied  in  New  York,  Paris  and  Berlin, 
from  1906  lived  in  New  York  as  composer, 
and  lately  has  made  her  home  at  Garden  City. 
In  1913  she  married  H.  M.  Krumbhaar  of 
New  Orleans.     See  art. 

*Warnke,  Heinrich  (b.  Holstein,  1871),  an 
experienced  'cellist,  since  1905  has  played  in 
the  Boston  Symphony  Orchestra,  and  in 
1905-07  was  a  member  of  the  Boston  Sym- 
phony Quartet. 

Wead,  Charles  Kasson  (b.  Malone,  N.  Y., 
1848),  since  1892  an  examiner  in  the  Patent 
Office  in  Washington,  has  been  a  diligent 
student  of  musical  acoustics,  publishing  Con- 
tributions to  the  History  of  Musical  Scales,  1900 
(U.  S.  Nat.  Museum  Report),  which  embodies 
original  investigations  upon  instruments,  be- 
sides many  articles  in  scientific  journals. 

Wells,  Howard  (b.  Rockford,  111.),  studied 
in  Chicago,  from  about  1900  appeared  there 
as  concert-pianist,  from  1907  studied  in 
Vienna  and  from  1908  was  one  of  Leschetizky's 
assistants,  part  of  the  time  living  in  Berlin 
and  also  touring,  and  since  1914  has  taught  in 
Chicago.     See  art. 

Werrenrath,  Reinald  (b.  Brooklyn,  1883), 
son  of  George  Werrenrath  (see  sec.  6),  grad- 
uated from  New  York  University  in  1905,  from 
1907  has  been  a  favorite  concert-baritone,  and 
since  1919  has  also  sung  at  the  Metropolitan 
Opera  House.     See  art. 

Weyman,  Wesley  (b.  Boston,  1877),  grad- 
uated from  Harvard  in  1898,  studied  there 
and  in  New  York,  from  1901  appeared  as 
concert-pianist,  in  1905-08  taught  at  the  In- 
stitute of  Musical  Art,  in  1909-14  studied 
and  toured  in  Europe,  and  has  since  taught 
in  New  York  and  Boston,  with  much  literary 
work.     See  art. 

*Wheeldon,  Herbert  Arthur  (b.  England, 
1864),  from  1882  organist  in  England,  in 
1907-13  was  organist  of  the  Metropolitan 
Church  in  Toronto,  and  in  1908-15  examiner 
in  music  at  Toronto  University.     See  art. 

White,  Carolina  (b.  Boston,  1886),  studied  in 
Boston  and  Naples,  made  her  debut  as  operatic 
soprano  in  1908,  sang  in  Italy,  in  1910-14  was 
with  the  Chicago  Opera  Company,  and  has  since 
been  heard  in  concert  or  light  opera.     See  art. 

Whitehill,  Clarence  Eugene  (b.  Marengo, 
la.,  1871),  studied  mainly  at  Paris,  appeared 
as  operatic  baritone  in  1899  in  Brussels,  and 
since  1900  has  sung  in  American  and  European 
opera-houses,  in  1911-15  with  the  Chicago 
Opera  Company  and  in  1909-11  and  since  1916 
at  the  Metropolitan  Opera  House.     See  art. 


100 


CHRONOLOGICAL  REGISTER 


[10:  1910-1920 


Whithorne  [Whittern],  Emerson  (b.  Cleve- 
land, 1884),  trained  in  Cleveland,  Vienna  and 
Berlin,  from  1907  was  teacher  and  writer  in 
London,  and  since  1915  has  been  executive 
editor  for  the  Art  Publication  Society  of  St. 
Louis.  His  compositions  include  a  '  Japanese 
Suite  '  for  orchestra,  two  symphonic  poems, 
two  string-quartets  ('  Three  Greek  Im- 
pressions,' 1914)  and  a  '  Quartettino  Orientale  ' 
(1916),  a  song-cycle  for  quartet,  '  Songs  of 
Sappho  '  (1913),  with  piano-works  and  songs. 

Wickham,  Florence  (b.  Beaver,  Pa.,  1882), 
trained  in  Philadelphia  and  Berlin,  has  ap- 
peared widely  as  operatic  contralto  since  1902, 
at  first  in  Europe,  in  1904-05  and  1909-12  in 
the  United  States.  In  1911  she  married 
Eberhard  L.  Lueder  of  New  York.     See  art. 

*Willeke,  Willem  (b.  Holland,  1878),  from 
1896  solo  'cellist  at  Riga,  Diisseldorf,  London 
and  Vienna,  in  1907-17  was  Schroeder's  suc- 
cessor as  'cellist  in  the  Kneisel  Quartet,  and 
has  since  taught  and  concertized  in  New 
York. 

Wilson,  Mortimer  (b.  Chariton,  la.,  1876), 
studied  in  Chicago,  from  1901  taught  at  the 
University  of  Nebraska,  in  1907-10  studied 
and  taught  in  Leipzig,  in  1911-15  was  con- 
ductor of  the  Atlanta  Symphony  Orchestra, 
and  in  1916-18  taught  at  Brenau  College  in 
Georgia.     See  art. 

Wood,  Carl  Paige  (b.  Taunton,  Mass.,  1885), 
graduated  from  Harvard  in  1906,  studied  there 
and  in  Boston,  Berlin  and  Paris,  from  1906  was 
music-director  at  Denison  University  in  Ohio, 
in  1915-16  organist  at  Vassar  College,  and  since 
1916  music-director  at  Carleton  College  in 
Minnesota.  He  has  written  choral  works  and 
songs,  and  won  the  Boott  Prize  at  Harvard 
in  1915. 

*Wrangell,  Ludvig  Heinrich  (b.  Norway, 
1872),  after  some  years  as  concert-violinist 
and  teacher  in  Norway,  from  1908  taught  in 
the  Wisconsin  Conservatory  in  Milwaukee,  and 
since  1913  has  had  his  own  school  there.  He 
has  written  violin-pieces,  a  violin-method,  etc. 

*Yon,  Pietro  Alessandro  (b.  Italy,  1886), 
since  1907  has  been  organist  at  St.  Francis 
Xavier's  in  New  York,  and  is  eminent  as 
recitalist  and  composer.     See  art. 

Zeuch,  William  Edward  (b.  Chicago,  1878), 
a  graduate  of  Northwestern  University,  stud- 
ied musicj  there  and  in  Paris,  where  he  was 
organist  of  the  English  Church.  For  some 
years  he  has  lived  in  Boston  as  concert- 
organist,  member  of  the  Skinner  Organ  Co., 
and  from  1917  organist  at  the  South  Church 
(Unitarian) . 

Zucca  [Zukermann],  Mana  (b.  New  York, 
1891),  appeared  in  1899  as  a  precocious  pianist, 
studied  in  New  York,  London,  Berlin  and  Paris, 
toured  throughout  Europe  as  pianist,  and  since 
1914  has  sung  much  in  light  opera,  in  both 
America  and  Europe.  She  has  written  the 
'  fugato  humoresque  '  '  Nerves,'  for  orchestra 
(Russian  Symphony  and  Philharmonic  Or- 
chestras) ,  many  songs  and  instrumental  pieces. 


10.   The  Decade  of  the  World  War 

Althouse,  Paul  Shearer  (b.  Reading,  Pa., 
1889),  studied  in  New  York,  and  since  1913, 
when  he  appeared  as  tenor  at  the  Metropolitan 
Opera  House,  has  been  prominent  in  both 
opera  and  concert.  He  assisted  at  the  first 
performances  of  '  Boris  Godunov,'  '  Made- 
leine '  and  '  Madame  Sans-GSne.' 

*Ariani,  Adriano  (b.  Italy,  1877),  a  pianist, 
conductor  and  composer  of  Italian  reputation, 
has  lately  lived  in  New  York.  See  Who's 
Who  in  Music,  1918,  p.  1. 

*Auer,  Leopold  (b.  Hungary,  1845),  the 
great  violinist  and  teacher,  came  to  America 
early  in  1918  and  settled  in  New  York.  See 
Vol.  i.  130,  and  art. 

*Bachmann,  Alberto  Abraham  (b.  Switzer- 
land, 1875),  an  experienced  violinist  and 
writer  on  violin-topics,  made  a  tour  of  the 
United  States  in  1916,  and  has  since  lived  in 
New  York. 

*Baklanov,  George  (b.  Russia,  1882),  who 
had  been  baritone  at  the  Imperial  Opera  in 
Petrograd,  sang  for  a  time  with  the  Boston 
Opera  Company,  and  from  1917  with  the 
Chicago  Opera  Company. 

Ballantine,  Edward  (b.  Oberlin,  O.,  1886), 
studied  in  Boston  and  Berlin,  from  1912  was 
teacher  of  theory  at  Harvard  University,  and 
from  1918  was  an  enlisted  musician  in  the 
Army.     See  art. 

*Barraja,  Enrico  (b.  Italy,  1885),  has  been 
pianist  and  teacher  in  Boston  since  1911.  He 
has  written  an  opera,  two  chamber-suites, 
many  songs  and  short  instrumental  pieces. 

*Barrientos,  Maria  (b.  Spain,  1885),  from 
1899  widely  known  in  Europe  and  also  South 
America  as  a  brilliant  coloratura-soprano, 
since  1916  has  sung  at  the  Metropolitan  Opera 
House,  especially  in  Italian  works.     See  art. 

Barstow,  Vera  (b.  Colina,  O.,  1893),  studied 
at  Pittsburgh  and  Vienna,  and  since  1912 
has  been  recognized  as  a  superior  concert- 
violinist. 

*Bimboni,  Alberto  (b.  Italy,  1882),  in  1911- 
12  was  conductor  for  the  Savage  Opera  Com- 
pany, in  1913-14  for  the  Century  Opera 
Company,  and  in  1915  at  the  Havana  Opera 
House. 

*Bloch,  Ernest  (b.  Switzerland,  1880),  the 
eminent  Jewish  composer,  came  to  America 
in  1916,  at  first  associated  with  Maud  Allan, 
the  dancer,  taught  for  two  years  at  the  Mannes 
School  of  Music  in  New  York,  and  has  had 
marked  success  as  composer.     See  art. 

*Bodanzky,  Artur  (b.  Austria,  1877),  the 
famous  operatic  conductor,  came  to  the 
Metropolitan  Opera  House  in  1915,  and  since 
1919  has  also  been  leader  of  the  New  Sym- 
phony Orchestra.     See  art. 

*Bori,  Lucrezia  (b.  Spain,  1888),  after  visit- 
ing Argentina  as  operatic  soprano,  since  1913 
has  sung  at  the  Metropolitan  Opera  House. 

*Bosetti,  Joseph  (b.  Italy,  1886),  priest  and 
doctor  in  the  Roman   Catholic  Church   and 


10:  1910-1920] 


CHRONOLOGICAL  REGISTER 


101 


a  trained  organist,  since  1913  has  been  choir- 
master in  the  Denver  Cathedral,  where  he 
has  not  only  developed  liturgical  music,  but 
organized  forces  for  giving  operas  and  oratorios. 
*Botta,  Luca  (Italy,  1882-1917,  New  York), 
the  opera-tenor,  from  1912  sang  with  the 
Pacific  Coast  Opera  Company,  and  from  1914 
at  the  Metropolitan  Opera  House,  as  well  as 
in  South  America.  His  repertoire  included 
most  of  the  later  Italian  works. 

*Boyle,  George  Frederick  (b.  Australia, 
1886),  having  toured  as  concert-pianist  since 
about  1900  in  Australia  and  Europe,  since 
1910  has  taught  at  the  Peabody  Conservatory 
in  Baltimore.     See  art. 

Braslau,  Sophie  (b.  New  York,  ?  ),  stud- 
ied in  New  York,  and  since  1913  has  been 
contralto  at  the  Metropolitan  Opera  House, 
besides  singing  much  in  concert  elsewhere. 

Brown,  Eddy  (b.  Chicago,  1895),  trained  as 
violinist  in  Chicago,  Budapest  and  Petrograd, 
from  1910  concertized  in  Europe,  and  since 
1916  has  been  heard  in  America.     See  art. 

Chalmers,  Thomas  Hardie  (b.  New  York, 
1884),  studied  in  New  York  and  Florence, 
appeared  as  operatic  baritone  in  1911  in  Italy, 
in  1911-12  sang  with  the  Savage  Opera  Com- 
pany, from  1913  with  the  Century  Opera 
Company,  from  1915  with  the  Boston  Opera 
Company,  and  since  1917  at  the  Metropolitan 
Opera  House. 

*Cherniavsky,  Jan  (b.  Russia,  1892),  Leo 
(b.  1890)  and  Michael  (b.  1893),  brothers, 
are  respectively  pianist,  violinist  and  'cellist 
in  the  Cherniavsky  Trio,  which  from  1916-17 
made  many  successful  appearances  in  the 
United  States  and  Canada. 

Clark,  Melville  Antone  (b.  Syracuse,  1883), 
nephew  of  Melville  Clark  (see  sec.  6),  since 
1910  has  made  improvements  in  harps  and 
harp-playing,  perfecting  a  small,  portable 
harp  of  considerable  artistic  value. 

*Claussen,  Julia,  n6e  Ohlson  (b.  Sweden, 
1879),  known  in  Sweden  since  1903  as  an  able 
operatic  mezzo-soprano,  from  1913  sang  with 
the  Chicago  Opera  Company,  and  since  1917 
at  the  Metropolitan  Opera  House,  besides 
extensive  concert-tours. 

Clifton,  Chalmers  (b.  Jackson,  Miss.,  1889), 
graduated  from  Harvard  in  1912,  studied  there 
and  in  Paris,  and  since  1914  has  been  known 
as  conductor,  composer  and  critic,  mostly  in 
or  near  Boston.     See  art. 

Crist,  Bainbridge  (b.  Lawrenceburg,  Ind., 
1883),  brought  up  in  Washington,  became  a 
practicing  lawyer,  then  studied  music  in 
London  and  Berlin,  and  since  1914  has  been 
teacher  and  composer  in  Boston.     See  art. 

Curtis,  Vera  (b.  Stratford,  Conn.,  1880), 
studied  in  Boston  and  New  York,  from  about 
1910  was  church-soprano  in  New  York,  and 
since  1912  has  sung  at  the  Metropolitan  Opera 
House.  In  1912  she  toured  with  the  Russian 
Symphony  Orchestra. 

'*Dambois,  Maurice  Felix  (b.  Belgium,  1889), 
noted  as  a  superior  'cellist  since  1901,  in  1917 


came  to  America  with  Ysaye,  making  his  head- 
quarters in  New  York. 

*Darby,  W.  Dermot  (b.  Ireland,  1885), 
trained  in  England  and  New  York,  secretary 
of  the  Modern  Music  Society  in  1916,  was  one 
of  the  editors  of  The  Art  of  Music,  1914-17. 

*DeLuca,  Giuseppe  (b.  Italy,  1876),  for 
twenty  years  a  leading  operatic  baritone  in 
Italy,  appeared  at  the  Metropolitan  Opera 
House  from  1915,  participating  in  the  initial 
performance  of  '  Goyescas  '  in  1916. 

Dow,  Martha  Cora  (d.  1915,  Cincinnati), 
bequeathed  $  700,000  as  an  endowment  for  the 
Cincinnati  Symphony  Orchestra. 

*Dufau,  Jenny  (b.  Alsace,  ?  ),  since  1911 
has  been  lyric  soprano  in  the  Chicago  Opera 
Company.  In  that  year  she  sang  in  the 
premiere  of  '  Cendrillon.' 

*Dworzak,  Zdenko  von  (b.  Moravia,  1875), 
educated  as  physician,  now  practicing  in 
Denver,  is  also  a  trained  musician.  He  has 
written  a  symphonic  poem,  an  overture,  two 
suites,  two  string-quartets,  songs,  etc.,  besides 
medical  essays  upon  the  voice. 

Eastman,  George  (b.  Waterville,  N.  Y., 
1854),  of  the  Eastman  Kodak  Co.,  in  1919  gave 
$3,500,000  for  the  establishment  in  Roches- 
ter of  the  Eastman  Music  School,  adding 
$  1,000,000  more  in  1920.     See  art. 

*Epstein,  Richard  (Austria,  1869-1919, 
New  York),  after  having  taught  in  the  Vienna 
Conservatory  and  for  ten  years  in  London, 
came  to  New  York  in  1914,  making  a  fine 
impression  as  pianist,  especially  as  accompanist 
and  ensemble-player. 

*Ferrari-Fontana,  Edoardo  (b.  Italy,  1878), 
after  a  phenomenal  leap  into  prominence  as 
operatic  tenor  in  1910,  appeared  in  Buenos 
Aires  in  1912,  joined  the  Boston  Opera  Com- 
pany in  1913,  and  since  1914  has  sung  at  the 
Metropolitan  Opera  House.  In  1912  he 
married  the  soprano  Margarete  Matzenauer. 
Flagler,  Harry  Harkness  (b.  Cleveland, 
1870),  a  wealthy  New  York  capitalist,  in  1914 
became  the  liberal  patron  and  guarantor  of 
the  Symphony  Society. 

*Forsyth,  Cecil  (b.  England,  1870),  known  in 
England  as  conductor  of  light  opera,  composer 
and  author,  since  1914  has  lived  in  New  York. 
See  art. 

*Frederiksen,  Frederik  Christian  (b.  Nor- 
way, 1869),  an  experienced  violinist,  con- 
ductor and  teacher,  in  1915  organized  the 
Scandinavian  Orchestra  in  Chicago.  He  is 
violin-teacher  in  several  conservatories  in 
Chicago  and  Milwaukee. 

*Fricker,  Herbert  Austin  (b.  England,  1868), 
from  1884  organist  in  England  and  from  1900 
conductor  at  Leeds,  since  1917  has  been 
conductor  of  the  Mendelssohn  Choir  in 
Toronto  and  organist  at  the  Metropolitan 
Church.  He  has  published  considerable 
church-music. 

■"Friedberg,  Carl  Rudolf  Hermann  (b.  Hesse, 
1872),  noted  as  pianist  in  Germany  since  1892, 
toured  in  America  in   1914,   and  in   1916-17 


102 


CHRONOLOGICAL  REGISTER 


[10:  1910-1920 


taught  at  the  Institute  of  Musical  Art  in  New 
York. 

*Galli-Curci,  Amelita  (b.  Italy,  1889),  the 
coloratura-soprano,  since  1916  has  been  con- 
spicuous in  the  Chicago  Opera  Company  and 
also  a  successful  concert-singer.     See  art. 

Garrison,  Mabel  (b.  Baltimore,  ?  ), 
trained  in  Baltimore  and  New  York,  from 
1912  was  lyric  soprano  in  the  Aborn  Opera 
Company,  and  since  1914  has  sung  at  the 
Metropolitan  Opera  House. 

Gillette,  James  Robert  (b.  Roseboom,  N. 
Y.,  1886),  studied  at  Syracuse  University,  and 
since  1914  has  been  concert-organist  and 
teacher  in  Macon,  Ga.  He  has  written  the 
cantata  '  The  Light  Everlasting  '  and  several 
organ-pieces. 

*Giorni,  Aurelio  (b.  Italy,  1895),  since  1915 
has  made  effective  tours  in  the  United  States 
as  concert-pianist. 

Gittelson,  Frank  (b.  Philadelphia,  1896), 
studied  in  Philadelphia,  New  York  and  Berlin, 
made  his  debut  as  violinist  at  Berlin  in  1913, 
toured  in  Germany  and  England,  since  1914 
has  been  heard  extensively  in  America,  from 
1919  teaching  at  the  Peabody  Conservatory 
in  Baltimore.     See  art. 

*Grainger,  Percy  Aldridge  (b.  Australia, 
1882),  the  highly  original  pianist  and  com- 
poser, has  been  repeatedly  heard  in  America 
since  1915.     See  Vol.  v.  643,  and  art. 

*Grassi,  Antonio  de'  (b.  Italy,  1880),  after 
prominent  appearances  as  violinist  in  Europe 
from  1905,  since  1915  has  taught  in  Berkeley, 
Cal.,  organizing  a  Trio  with  Vladimir  Shavitch 
and  Stanislaus  Bern  as  pianist  and  'cellist. 

*Grolle,  Johan  Hendrik  (b.  Holland,  ?  ), 
a  well-trained  violinist,  since  about  1910  has 
been  active  in  promoting  popular  education 
through  schools  like  the  Philadelphia  Settle- 
ment Music  School,  of  which  he  is  director. 

*Gulli,  Luigl  (b.  Italy,  1859),  from  1896 
pianist  in  the  famous  Society  del  Quintetto 
in  Rome,  since  1916  has  been  soloist  and 
teacher  in  Chicago. 

Hagan,  Helen  Eugenia  (b.  New  Haven, 
Conn.,  1893),  studied  in  New  Haven  and 
Paris,  and  since  1912  has  been  organist  and 
concert-pianist  in  New  Haven.  She  has 
written  considerable  music  for  piano. 

Hall,  Leland  (b.  Maiden,  Mass.,  1883), 
studied  at  Harvard  and  in  Paris,  from  1910 
taught  music-history  at  the  University  of 
Wisconsin,  in  1913-14  lectured  at  Columbia 
University  and  wrote  program-notes  for  the 
Symphony  Society,  and  was  one  of  the  editors 
of  The  Art  of  Music,  1914-17. 

*Hambourg,  Boris  (b.  Russia,  1884),  the 
distinguished  'cellist,  brother  of  Mark  Ham- 
bourg  (see  sec.  8),  since  1910  has  toured  in 
America,  in  1911-16,  with  his  father  and 
brother  (see  below),  directed  the  Hambourg 
Conservatory  in  Toronto,  and  since  1916  has 
lived  in  New  York.     See  art. 

*Hambourg,  Jan  (b.  Russia,  1882),  brother 
of    the    foregoing    and    a    striking    violinist, 


collaborated  with  him  in  Toronto,  and  since 
1916  has  also  lived  in  New  York. 

*Hambourg,  Michael  (Russia,  1856-1916, 
Toronto) ,  father  of  the  above  and  a  good  piano- 
teacher,  from  1911  was  associated  with  his 
sons  in  their  Toronto  school. 

Hanson,  Howard  Harold  (b.  Wahoo,  Neb., 
1896),  trained  at  Luther  College  in  Nebraska, 
New  York  and  Evanston,  111.,  in  1913  was 
critic  and  coach  in  Kansas  City,  in  1915-16 
taught  at  Northwestern  University,  and  since 
1916  has  been  theory-teacher  at  the  College  of 
the  Pacific,  San  Jos6,  becoming  dean  in  1919. 
He  has  written  two  symphonic  poems,  a  Sym- 
phonic Rhapsody,  a  piano-concerto,  a  piano- 
quintet,  a  piano-sonata  and  pieces,  and  songs, 
besides  articles  on  musical  science. 

*Harmati,  Sandor  (b.  Hungary,  1892),  who 
had  been  violinist  and  conductor  in  Budapest, 
came  to  New  York  in  1914,  and  since  1917 
has  been  second  violin  in  the  Letz  Quartet. 

*Heifetz,  Jascha  (b.  Russia,  1901),  the 
precocious  violinist,  having  been  heard  from 
1910  in  Europe,  since  1917  has  toured  in  the 
United  States.     See  art. 

*Heinecke,  Paul  (b.  Saxony,  1885),  since 
1910  has  been  head  of  the  New  York  branch 
of  Breitkopf  &  Hartel  in  Leipzig,  and  of  the 
independent  corporation  formed  in  1917  to 
take  over  the  American  business. 

*Hempel,  Frieda  (b.  Saxony,  1885),  the 
distinguished  operatic  soprano,  since  1912 
has  sung  at  the  Metropolitan  Opera  House 
with  brilliant  success.  In  1918  she  married 
William  B.  Kahn.     See  art. 

*Herbst,  Gottfried  (b.  Thuringia,  1887), 
from  1902  violinist  and  conductor  in  central 
Germany,  since  1912  has  been  violin-teacher 
and  concert-player  at  the  State  College, 
Pullman,  Wash. 

*Holy,  Alfred  (b.  Portugal,  1866),  the 
famous  harpist,  since  1913  has  been  a  member 
of  the  Boston  Symphony  Orchestra.     See  art. 

Horvath,  Cecile,  nee  Ayres  (b.  Boston,  1889), 
daughter  of  Eugene  E.  Ayres  (see  sec.  7), 
studied  in  Philadelphia,  New  York  and  Berlin, 
and  since  1910  has  been  concert-pianist  both 
abroad  and  in  America.  Her  husband, 
Zoltan  de  Horvath  (b.  Chicago,  1886),  is 
pianist  and  teacher  in  Philadelphia. 

*Ingram,  Frances  (b.  England,  1888),  was 
educated  in  Brooklyn  and  New  York,  first 
appeared  as  operatic  contralto  at  Philadelphia 
in  1911,  and  has  since  sung  with  the  Chicago 
Opera  Company,  except  in  1913-14  with  the 
Montreal  Opera  Company  and  in  1914-15  on 
concert-tours.  In  1913  she  married  Karl 
G.  MacVitty  of  Chicago. 

Kernochan,  Marshall  Rutgers  (b.  New  York, 
1880),  studied  in  New  York  and  Frankfort, 
since  1910  has  worked  in  or  near  New  York  as 
composer. 

*Kihl,  Viggo  Richard  (b.  Denmark,  1882), 
concert-pianist  since  1901  in  Copenhagen  and 
London,  since  1913  has  been  in  the  faculty 
of  the  Toronto  Conservatory. 


10 :  1910-1920] 


CHRONOLOGICAL  REGISTER 


103 


♦Kilenyi,  Edward  (b.  Hungary,  1884), 
studied  at  Columbia,  and  since  about  1912  has 
been  a  frequent  writer  upon  musical  subjects, 
with  some  composition.     See  art. 

*Kindler,  Hans  (b.  Holland,  1892),  since 
1914  has  been  'cellist  in  the  Philadelphia 
Orchestra. 

*Knoch,  Ernst  (b.  Baden,  1876) ,  having  had 
wide  experience  since  1898  in  operatic  con- 
ducting, especially  of  Wagner's  works,  in  1914 
joined  the  Century  Opera  Company,  and  in 
1916  was  conductor  at  Ravinia  Park,  Chicago, 
and  then  of  the  Interstate  Opera  Company, 
Cleveland. 

Kramer,  Arthur  Walter  (b.  New  York,  1890), 
graduated  from  the  College  of  the  City  of  New 
York  in  1910,  and  has  since  then  been  on  the 
staff  of  '  Musical  America  '  and  a  prolific 
composer  and  writer.     See  art. 

*Kreiner,  Edward  (b.  Poland,  1890),  after 
playing  for  some  time  in  the  New  York  Sym- 
phony Society,  since  1917  has  been  violist  in 
the  Letz  Quartet. 

*Kunwald,  Ernst  (b.  Austria,  1868),  who 
had  been  eminent  as  conductor  in  Europe  from 
1895,  in  1912-17  directed  the  Cincinnati 
Symphony  Orchestra,  resigning  for  poUtical 
reasons. 

*Kurt,  Melanie  (b.  Austria,  1880),  who  had 
been  concert-pianist  from  1897  and  eminent 
operatic  soprano  from  1902,  in  1915-17  was 
a  leading  artist  at  the  Metropolitan  Opera 
House.  In  1910  she  married  Prof.  Deri  in 
Berlin. 

Lament,  Forrest  (b.  Springfield,  Mass., 
1889),  after  study  at  home  and  abroad,  made 
his  debut  as  operatic  tenor  in  Rome,  toured  in 
Italy,  the  West  Indies  and  South  .America, 
and  since  1917  has  sung  with  the  Chicago 
Opera  Company. 

Langdon,  William  Chauncy  (b.  Italy,  1871, 
of  American  parents),  a  New  York  lawyer, 
since  about  1910  has  been  the  arranger  and 
librettist  of  many  '  pageants  '  and  similar  mu- 
sico-dramatic  undertakings  —  Thetford,  Vt., 
1911,  St.  Johnsbury,  Vt.,  1912,  Meriden.N.  H., 

1913,  Darien,  Conn.,  1913,  Cape  Cod,  Mass., 

1914,  Austin,  Tex.,  1915,  Bloomington,  Indian- 
apolis and  Corydon,  Ind.,  1916,  Amherst, 
Mass.,   1917,  University  of  Illinois,  1918,  etc. 

*Lange,  Daniel  de  (Holland,  1841-1918, 
Point  Loma,  Cal.),  from  1895  director  of  the 
Amsterdam  Conservatory,  resigned  in  1913 
and  came  to  America.     See  Vol.  ii.  633. 

*Lester,  Thomas  William  (b.  England,  1889), 
was  brought  to  America  in  boyhood,  studied 
in  Chicago,  from  1911  was  active  as  critic  and 
writer,  and  since  1912  has  also  been  organist 
and  concert-accompanist.  He  has  written 
chamber-,  piano-  and  organ-suites,  a  string- 
quartet,  a  violin-sonata,  several  cantatas,  etc. 

*Levitzki,  Mischa  (b.  Russia,  1898),  came 
to  New  York  as  a  boy,  continued  there  and  in 
Berlin  studies  begun  in  Warsaw,  made  his  de- 
but as  concert-pianist  in  1912,  toured  in  Europe 
and  since  1916  has  been  active  in  New  York. 


Lindquest,  Albert  Charles  (b-  Chicago, 
1892),  studied  at  Chicago,  Ann  Arbor  and  New 
York,  since  1914  has  been  a  successful  concert- 
tenor  with  many  orchestras  and  choral  societies, 
living  in  New  York. 

*Lorenzo,  Leonardo  de  (b.  Italy,  1875), 
known  in  Europe  since  1897  as  a  superior 
flutist,  from  1910  played  with  the  New  York 
Philharmonic  Society,  from  1912  with  the 
Symphony  Society,  and  since  1914  with  the 
Minneapolis  Orchestra.  He  has  written  a 
flute-method  and  many  studies. 

*Maas,  Gerald  Christopher  (b.  Baden,  1888), 
an  expert  'cellist  since  1908,  first  appeared  as 
soloist  in  America  in  1916,  and  since  1917  has 
been  in  the  Letz  Quartet. 

Maas,  Marguerite  Wilson  (b.  Baltimore, 
1888),  studied  in  Baltimore  and  Berlin, 
appeared  as  concert-pianist  in  Berlin  in  1914, 
then  in  Baltimore  and  vicinity,  in  1915-16 
taught  at  the  Skidmore  School,  Saratoga 
Springs,  N.  Y.,  and  now  lives  near  Baltimore. 
She  has  written  a  piano-sonata  and  other 
pieces,  several  songs,  etc. 

Macbeth,  Florence  (b.  Mankato,  Minn., 
1891),  trained  in  St.  Paul,  Pittsburgh  and 
abroad,  made  her  debut  as  operatic  soprano 
in  1913  at  Darmstadt,  with  other  European 
appearances,  and  since  1914  has  sung  with  the 
Chicago  Opera  Company. 

*Maguenat,  Alfred  (b.  France,  ?  ,  of 
Swiss  parents),  a  baritone  known  in  Italy, 
France  and  England  from  1907,  since  1916 
has  sung  with  the  Chicago  Opera  Company. 

*Maitland,  Robert  Gillies  (b.  England, 
1875),  from  1896  prominent  in  England, 
Germany  and  the  Low  Countries  as  concert- 
baritone  and  expert  in  lyric  interpretation, 
since  1914  has  taught  in  New  York  and  con- 
certized  more  or  less. 

*Mansfield,  Orlando  Augustine  (b.  England, 
1863),  from  1885  an  experienced  organist  in 
England,  from  1912  taught  at  Wilson  College 
in  Pennsylvania,  and  since  1918  at  Brenau 
College  in  Georgia.     See  art. 

*Marcoux,  Vanni  (b.  Italy,  1879),  an 
operatic  baritone  favorably  known  in  France 
and  England  since  1899,  joined  the  Chicago 
Opera  Company  in  1912. 

*Martinelli,  Giovanni  (b.  Italy,  1885),  the 
able  dramatic  tenor,  since  1913  has  been  with 
the  Metropolitan  Opera  Company,  besides 
singing  regularly  in  London  and  in  1916  in 
Buenos  Aires. 

*Martucci,  Paolo  (b.  Italy,  1885),  son  of 
the  notable  pianist,  conductor  and  composer 
Giuseppe  Martucci,  from  1911  taught  piano 
at  the  Cincinnati  Conservatory,  and  since 
1913  has  been  concert-player  and  teacher  in 
New  York. 

Mason,  Edith  Barnes  (b.  St.  Louis,  1892), 
trained  as  stage-soprano  in  New  York,  Boston, 
Philadelphia  and  Paris,  in  1912  sang  with  the 
Boston  Opera  Company,  in  1913-15  at  Nice, 
Marseilles  and  Paris,  and  since  1915  at  the 
Metropolitan  Opera  House. 


104 


CHRONOLOGICAL  REGISTER 


[10:  1910-1920 


*Matzenauer,  Margarete  (b.  Hungary, 
1881),  the  celebrated  operatic  singer,  originally 
a  contralto,  but  since  1911,  when  she  came 
to  the  Metropolitan  Opera  House,  turning  to 
soprano  parts.  In  1902-11  she  was  the  wife 
of  Ernst  Preuse  of  Munich  and  in  1912-17  of 
the  tenor  Ferrari-Fontana  (see  above).  See 
Baker,  Diet,  of  Musicians,  p.  591. 

*MegerUn,  Alfred  (b.  Belgium,  1880), 
from  1894  an  able  violinist  in  Belgium,  came 
to  America  in  1914  and  since  1917  has  been 
concertmaster  of  the  New  York  Philharmonic 
Society. 

Milligan,  Harold  Vincent  (b.  Astoria,  Ore., 
1888),  studied  in  New  York,  where  since  about 
1910  he  has  been  organist,  besides  tours  aa 
concert-player.     See  art. 

Moderwell,  Hiram  Kelly  (b.  Fort  Wayne, 
Ind.,  1888),  graduated  from  Harvard  in  1912, 
and  since  1913  has  been  critic  and  author  in 
New  York.  He  contributed  to  The  Art  of 
Music,  1914-17,  and  wrote  The  Theatre  of  To- 
Day,  1914. 

*Monteux,  Pierre  (b.  France,  1875),  the 
distinguished  conductor,  in  1916  conducted 
the  Russian  Ballet  in  New  York,  in  1917  led 
municipal  concerts  there,  from  1917  was 
engaged  at  the  Metropolitan  Opera  House, 
and  since  1919  has  led  the  Boston  Symphony 
Orchestra.     See  art. 

*Muratore,  Lucien  (b.  France,  1878),  the 
operatic  tenor,  since  1913  has  been  with  the 
Chicago  Opera  Company,  in  1917  also  singing 
at  Buenos  Aires.  In  1913  he  married  the 
soprano  Lina  Cavalieri  (see  sec.  9).     See  art. 

*Muzio,  Claudia  (b.  Italy,  1892),  known  in 
Italy  as  dramatic  soprano  from  1912,  and 
having  also  sung  in  Paris,  London,  Cuba  and 
South  America,  since  1916  has  been  at  the 
Metropolitan  Opera  House. 

*Nachez,  Tivadar  (b.  Hungary,  1859),  for 
thirty  years  a  noted  concert-violinist  and  com- 
poser, from  1889  working  in  London,  since 
1916  has  lived  at  Santa  Barbara,  Cal.  For 
works,  see  Baker,  Diet,  of  Musicians,  p.  639. 

*Noble,  Thomas  Tertius  (b.  England,  1867), 
the  celebrated  organist,  since  1913  has  been 
at  St.  Thomas'  in  New  York,  besides  concert- 
tours  elsewhere.     See  Vol.  v.  655,  and  art. 

*Novaes,  Guiomar  (b.  Brazil,  1895),  studied 
at  Sao  Paulo  and  Paris,  from  1911  became 
known  in  Europe  and  South  America  as  a 
highly  gifted  pianist,  and  since  1915  has  been 
widely  heard  in  the  United  States.     See  art. 

*Ober,  Margarete  (b.  Prussia,  1885),  the 
eminent  mezzo-soprano,  since  1913  has  been 
a  leading  singer  at  the  Metropolitan  Opera 
House,  until  1916  also  singing  at  Berlin.  In 
1910  she  married  Arthur  Arndt.     See  art. 

*Ornstein,  Leo  (b.  Russia,  1895),  studied 
in  Petrograd  and  New  York,  made  his  debut 
as  pianist  in  1911  in  the  latter  city,  and  has 
lived  there  as  player  and  unusual  composer. 
See  art. 

*Perini,  Flora  (b.  Italy,  1887),  since  1910 
has  been  a  noted  operatic  mezzo-soprano  at 


the  chief  South  American  capitals,  and  also 
since  1915  at  the  Metropolitan  Opera  House. 
She  is  the  wife  of  Amleto  Polattri. 

*Pfitzner,  Walther  (b.  Saxony,  1882),  since 
1896  concert-pianist  in  Germany,  from  1915 
has  been  teacher  at  Bethany  College,  Linds- 
borg.,  Kan.,  choral  conductor  and  concert-ac- 
companist. 

*Pulitzer,  Joseph  (Hungary,  1847-1911, 
Charleston,  S.  C),  the  eminent  journalist, 
from  1883  proprietor  of  the  New  York  'World,' 
by  his  will  left  $500,000  to  the  New  York 
Philharmonic  Society.     See  art. 

*Rabaud,  Henri  Benjamin  (b.  France,  1873), 
the  distinguished  conductor  and  composer, 
in  1918-19  was  conductor  of  the  Boston 
Symphony  Orchestra,  returning  to  become 
director  of  the  Paris  Conservatory. 

*Raisa,  Rosa  (b.  Poland,  1893),  since  1914 
has  been  one  of  the  foremost  sopranos  in  the 
Chicago  Opera  Company,  besides  many  appear- 
ances in  South  America. 

Rice,  William  Gorham  (b.  Albany,  N.  Y., 
1856),  who  has  held  various  offices  in  Albany 
in  politics  and  business,  has  published  The 
Carillons  of  Belgium  and  Holland,  1914,  The 
Carillon  in  Literature,  1915,  and  various  articles 
upon  campanology. 

*Riley,  Herbejrt  (b.  Brazil,  1888),  educated 
in  Germany  and  appearing  there  as  'cellist 
from  1909,  in  1911-12  toured  in  the  West  of 
the  United  States  and  settled  in  San  Francisco 
as  soloist,  ensemble-player  and  teacher.  He 
has  been  associated  with  Saslavsky  (see  sec. 
8)  in  annual  quartet-concerts. 

♦Roentgen,  Engelbert  (b.  Holland,  1886), 
a  skillful  'cellist,  son  of  Julius  Roentgen  (see 
Vol.  iv.  119),  since  1916  has  played  in  the  New 
York  Symphony  Society  and  also  taught  at 
the  Mannes  Music  School. 

*Rosen,  Max  (b.  Rumania,  1900),  was 
brought  to  New  York  in  infancy,  studied  there 
and  (as  protege  of  Coppet)  in  Europe,  made 
his  debut  as  violinist  at  Dresden  in  1915, 
with  tours  in  Germany  and  Scandinavia, 
and  since  1918  has  appeared  with  success  in 
America. 

*Rothier,  Leon  (b.  France,  1874),  whose 
record  as  dramatic  bass  began  in  1899,  came 
to  the  Metropolitan  Opera  House  in  1910. 
Since  1916  he  has  also  taught  at  the  Volpe 
Institute  of  Music. 

*Rybner,  Dagmar  de  Corval  (b.  Baden, 
1890),  daughter  of  Cornelius  Rybner  (see  sec. 
9),  studied  in  Baden,  Switzerland  and  New 
York,  and  since  1912  has  been  concert-pianist 
and  composer  in  New  York.     See  art. 

♦Sainton,  Joseph  (b.  England,  1878),  who 
from  1908  had  been  in  charge  of  municipal 
concerts  at  Brighton,  from  1912  was  con- 
ductor for  the  Aborn  Opera  Company,  and 
since  1915  has  led  municipal  concerts  in 
Minneapolis. 

*Salzedo,  Carlos  (b.  France,  1885),  an  able 
harpist,  since  1913  has  been  with  the  Trio  de 
Lutfece,  with  Barrfere  and  K6fer  (see  sec.  9  for 


10:  1910-1920] 


CHRONOLOGICAL  REGISTER 


105 


both).  He  has  written  for  the  harp  and  for 
other  instruments,  and  a  treatise  upon  the  harp. 

*Sandby,  Herman  (b.  Denmark,  1881), 
from  1900  a  notable  'cellist  in  Europe,  from 
1912  played  in  the  Philadelphia  Orchestra 
and  taught  in  the  Broad  Street  Conservatory, 
and  since  1916  has  concertized  from  New  York 
as  headquarters.     See  art. 

Schminke,  Oscar  Eberhard  (b.  New  York, 
1881),  after  having  been  a  practicing  dentist 
in  New  York  for  some  years,  from  about  1911 
has  devoted  himself  to  composition.     See  art. 

Search,  Frederick  Preston  (b.  Pueblo,  Colo., 
1889),  trained  in  Boston,  Cincinnati  and 
Leipzig,  from  1912  has  been  concert-'cellist,  in 
1915-16  with  the  American  Symphony  Or- 
chestra in  Chicago,  in  1916-17  with  the 
Chicago  Opera  Company,  and  has  since 
directed  summer  plays  in  California.     See  art. 

Seeger,  Charles  Louis,  Jr.  (b.  Mexico  City, 
1886),  graduated  from  Harvard  in  1908,  in 
1910-11  was  assistant-conductor  of  opera  at 
Cologne,  and  since  1912  has  been  professor 
in  the  University  of  California.     See  art. 

Seydel,  Irma  (b.  Boston,  1896),  daughter  and 
pupil  of  a  player  in  the  Boston  Symphony  Or- 
chestra, since  1913  has  been  concert-violinist 
in  America  and  Germany.     See  art. 

*Smith,  Leo  (b.  England,  1881),  an  ex- 
perienced 'cellist,  since  1911  has  taught  at 
the  Toronto  Conservatory,  besides  writing 
articles  for  periodicals. 

*Sorrentino,  Umberto  (b.  Italy,  1889), 
since  1910  has  toured  as  concert-tenor  or 
operatic  star  in  the  West  Indies,  Mexico,  the 
United  States  and  Canada. 

Sowerby,  Leo  (b.  Grand  Rapids,  Mich., 
1895),  studied  in  Chicago,  and  since  1913  has 
been  composer  there,  besides  teaching  in  the 
American  Conservatory  and  some  work  as 
critic.     See  art. 

Spaeth,  Sigmund  (b.  Philadelphia,  1885), 
graduated  from  Haverford  College  in  1906, 
from  1910  taught  in  Asheville,  N.  C,  and  since 
1912  has  been  engaged  in  editorial  or  critical 
work  in  New  York.     See  art. 

Spelman,  Timothy  Mather  (b.  Brooklyn, 
1891),  graduated  from  Harvard  in  1913, 
studied  there  and  in  New  York  and  Munich, 
and  since  1914  has  been  composer  in  New  York, 
his  works  including  an  opera,  an  orchestral 
suite,  a  melodrama  and  a  pantomime,  besides 
songs,  etc. 

Spencer,  Eleanor  (b.  Chicago,  1890),  studied 
in  Chicago,  New  York,  Paris  and  Vienna,  from 
1910  appeared  in  England,  Germany  and  Hol- 
land as  concert-pianist,  and  since  1913  has 
been  regularly  heard  in  America.     See  art. 

*Stefano,  Salvatore  di  (b.  Sardinia,  1887), 
since  1913  has  toured  in  the  United  States  as 
concert-harpist. 

Stoessel,  Albert  Frederic  (b.  St.  Louis, 
1894),  studied  in  St.  Louis  and  Berlin,  where 
he  made  his  d^but  as  violinist  and  was  a 
member  of  the  Hess  Quartet,  and  since  1915  has 
toured  in  America.     See  art. 


■^Stransky,  Josef  (b.  Bohemia,  1874),  the 
distinguished  conductor,  since  1911  has  led 
the  New  York  Philharmonic  Society.  See 
art. 

*Talbot,  Thomas  R.  (b.  Ireland,  1884),  since 

1913  has  been  organist  in  Minneapolis,  in- 
terested in  promoting  improvement  in  Roman 
Catholic  music  along  strict  lines.  He  has 
organized  a  Cecilian  Society  for  this  purpose. 

Taylor,  Joseph  Deems  (b.  New  York,  1885), 
graduated  at  New  York  University  in  1906, 
and  has  since  been  in  editorial  work,  from  1910 
also  composing  various  choral  and  orchestral 
works,  etc.     See  art. 

*Teyte  [Tate],  Maggie  (b.  England,  1889), 
since  1911  has  sung  regularly  in  America  as 
both  concert-  and  opera-soprano,  in  1911-14 
with  the  Chicago  Opera  Company,  in  1914-17 
with  the  Boston  Opera  Company.     See  art. 

*Thalberg,  Marcian  (b.  Russia,  1877),  from 
1902  a  prominent  concert-pianist  at  Paris  and 
elsewhere  in  Europe,  since  1913  has  been 
teacher  of  advanced  pupils  at  the  Cincinnati 
Conservatory. 

*Tourret,  Andri  (b.  France,  1882),  noted  as 
violinist  in  Paris  from  1896,  both  in  the 
Colonne  Orchestra  and  in  ensemble-playing, 
from  1913  lived  in  New  York,  with  some  tours, 
returning  lately  to  Belgium. 

*Treharne,  Bryceson  (b.  Wales,  1879),  after 
ten  years  of  teaching  in  Australia  and  further 
experience  in  Europe,  since  1916  has  been 
composer  in  New  York.     See  art. 

*Trunk,  Richard  (b.  Baden,  1879),  conductor 
and  teacher  in  Germany  from  1896,  since  1912 
has  led  the  Arion  Society  in  New  York  and 
since  1913  also  the  Arion  Society  in  Newark. 

Uhe,  Arthur  Emil  (b.  Chicago,  1892), 
studied  at  Chicago  and  Brussels,  first  appeared 
as  violinist  at  Brussels  in  1912,  toured  in 
Norway,  Switzerland  and  England,  and  since 

1914  has  been  teacher  and  orchestral  con- 
ductor at  Bethany  College  in  Kansas.  He 
has  written  a  violin-concerto  and  other  works 
for  violin  and  piano. 

Van  Gordon,  Cyrena  [name  originally  Po- 
cock]  (b.  Camden,  O.,  1893),  trained  at  Cin- 
cinnati, where  she  appeared  as  contralto  in  a 
pageant  in  1912,  since  1913  has  been  prom- 
inent in  the  Chicago  Opera  Company,  besides 
some  concert-singing.  In  1912  she  married 
Dr.  Shirley  B.  Munns  of  Chicago. 

*Van  Vliet,  Cornelius  (b.  Holland,  1886), 
noted  'cellist  in  European  orchestras  from 
about  1900,  came  to  Chicago  in  1911,  from 
1912  played  with  the  Minneapolis  Orchestra, 
and  since  1919  has  concertized  from  New  York 
as  center.     See  art. 

*Vecsei,  Desider  Josef  (b.  Hungary,  1882), 
concert-pianist   in    Europe    from    1907,    since 

1915  has  toured  in  the  United  States. 
*Vigneti,    Georges   (b.   France,    1882),   who 

had  appeared  widely  as  violinist  in  France  and 
on  a  world-tour,  since  1911  has  taught  in  New 
York  and  played  in  trio  with  Arthur  Whiting 
and  Georges  Barr&re. 


106 


CHRONOLOGICAL  REGISTER 


[10:  1910-1920 


*Vix,  Genevieve  (b.  France,  1887),  from 
1910  lyric  soprano  at  Madrid  and  Buenos 
Aires,  in  1917-18  appeared  with  the  Chicago 
Opera  Conapany.  In  1918  she  married  the 
Russian  banker  Cyril  Narishkin  in  New 
York. 

*Volavy,  Marguerite  (b.  Moravia,  1886), 
from  1902  known  as  concert-pianist  throughout 
Europe,  since  1914  has  played  in  America. 
At  her  New  York  d6but  in  1915  with  the 
Russian  Symphony  Orchestra  she  introduced 
a  new  concerto  by  Bortkiewicz. 

Ware,  Helen  (b.  Woodbury,  N.  J.,  1887), 
studied  at  Philadelphia,  Vienna  and  Budapest, 
and  since  1912  has  toured  Europe  and  America 
as  concert-violinist,  specializing  in  Hungarian 
and  Slav  music.     See  art. 

*'Warnery,  Edmond  (b.  France,  1876,  of 
Swiss  parents),  originally  a  baritone,  now 
a  tenor,  since  1910  has  sung  with  the  Chicago 
Opera  Company  with  sustained  success. 

*Weil,  Hermann  (b.  Germany,  1878),  the 
Wagnerian  baritone,  since  1911  has  appeared 
at  the  Metropolitan  Opera  House  and  in 
concert.     He  has  published  songs. 


*Witek,  Anton  (b.  Bohemia,  1872),  long 
eminent  as  concertmaster  and  ensemble- 
player  in  Berlin,  in  1910-18  was  concertmaster 
of  the  Boston  Symphony  Orchestra,  besides 
continuing,  with  his  wife,  *Vita  Witek,  n6e 
Friese  (b.  Denmark,  1868) ,  and  Joseph  Malkin, 
the  Witek-Malkin  Trio  (formed  in  1902  at 
Berlin)  and  teaching  in  New  York.     See  art. 

*Ysaye,  Eugene  (b.  Belgium,  1858),  since 
1880  famous  as  a  great  violinist  and  also  able 
conductor,  since  1918  has  been  conductor  of 
the  Cincinnati  Festivals  and  Symphony  Or- 
chestra.    See  Vol.  v.  580-2,  and  art. 

*Zbinden,  Theodore  (b.  Alsace,  1877), 
graduated  from  the  University  of  Michigan 
in  1899,  with  degrees  later  in  both  music  and 
medicine,  from  1912  taught  in  Toledo,  but 
since  1918  has  been  a  practicing  physician. 
He  has  written  a  violin-sonata,  the  cantata 
'  The  Chambered  Nautilus,'  etc. 

*Zimbalisl,  Efrem  (b.  Russia,  1889),  the 
distinguished  violinist,  settled  in  America  in 
1911  and  has  played  extensively  and  with  great 
success.  In  1914  he  married  the  soprano  Alma 
Gluck  (see  sec.  9).     See  Vol.  v.  596,  and  art. 


The  several  sections  of  the  Register  refer  to  about  1700  persons,  of  whom  over  900  are  native- 
born  and  nearly  800  are  foreign-born.  It  is  interesting  to  observe  how  the  derivation  of  these 
classes  changes  from  period  to  period. 

For  convenience,  those  native-born  may  be  grouped  in  six  regions,  namely,  a.  New  England ; 
b.  Middle  States ;  c.  Southern  States  (Va.  to  Tex.)  ;  d.  Central  States  (Ohio  to  Kan.) ;  e.  West- 
ern States ;  /.  Canada,  West  Indies,  Mexico  and  South  America.  Still  more  roughly,  those 
foreign-born  may  be  grouped  in  four  classes,  namely,  a.  Great  Britain,  Holland  and  Scandinavia ; 
b.  Germany,  Bohemia  and  Austria ;  c.  Latin  Countries  (including  Belgium  and  Switzerland) ; 
d.  Slavic  and  Other  Countries. 

The  statistics  work  out  (as  far  as  birthplaces  are  known  or  probable)  as  follows : 


Native-Bobn 

FOREIGN-BOHN. 

Names 

a. 

6. 

c. 

d. 

e. 

/. 

Namks 

a. 

6. 

c. 

d. 

18th  cent. 

15 

80% 

20% 









100 

70% 

15% 

15% 



1800-40     . 

50 

75 

21 

2% 

— 

— 

2% 

60 

54 

24 

22 

— 

1840-60    . 

80 

60 

23 

12 

3% 

— 

2 

95 

24 

67 

9 

— 

1860-70    . 

70 

44 

30 

4 

12 

— 

10 

45 

22 

64 

14 

— 

1870-80     . 

120 

36 

28 

4 

29 

2% 

1 

60 

25 

46 

15 

14% 

1880-90     . 

175 

28 

38 

5 

20 

2 

7 

115 

33 

48 

10 

9 

1890-1900 

195 

21 

38 

4 

29 

3 

5 

95 

32 

49 

10 

9 

1900-10     . 

150 

15 

32 

6 

34 

4 

9 

115 

27 

22 

37 

14 

1910-20     . 

50 

10 

38 

2 

38 

6 

6 

105 

27 

18 

36 

19 

905 

32% 

32% 

5% 

23% 

3% 

5% 

780 

35% 

37% 

20% 

8% 

If  existing  dictionaries  be  collated,  it  will  be  found  that  the  trend  of  percentages  does  not  vary 
much  from  the  above,  although  the  total  number  of  names  included  is  much  larger  —  about 
2700  native-born  and  about  1000  foreign-born. 


PERSONAL  AND   DESCRIPTIVE  ARTICLES 

AND 

ALPHABETICAL   INDEX 


Note.  The  few  abbreviations  used  are  mostly  self-explanatory.  Marks 
like  '  [  R.7  ] '  at  the  end  of  biographies  indicate  where  the  names  are  entered 
in  the  Chronological  Register.  Several  Associations  are  often  referred  to  by 
initials,  as  'M.T.N.  A.'  for  Music  Teachers'  National  Association,  '  A. G. O.' 
for  American  Guild  of  Organists,  '  N.  A.  O.'  for  National  Association  of  Or- 
ganists, '  R.  A.  M.'  for  Royal  Academy  of  Music, '  R.  C.  M.'  for  Royal  College 
of  Music,  'R.  C.  O.'  for  Royal  College  of  Organists,  and  'I.  M.  G.'  for  Interna- 
tionale Musik-Gesellschaft.  In  some  cross-references  *  C  stands  for  College 
and  '  U.'  for  University. 

Articles  relating  to  those  who  are  outside  the  American  field  are  marked 
byj. 


ABBEY,  HENRY  EUGENE  (1846-1896). 
See  Register,  7. 

ABBOTT,  EMMA  (Dec.  9,  1850,  Chicago  : 
Jan.  5,  1891,  Salt  Lake  City),  attained  success 
as  a  stage-soprano  by  hard  work  and  perti- 
nacity. During  her  youth  in  Peoria,  111.,  she 
had  few  advantages,  and  her  voice  was  neither 
large  nor  sympathetic.  In  1870,  however, 
aided  by  Miss  Kellogg,  she  became  a  leading 
church-singer  in  New  York  and  had  lessons 
from  Errani.  Her  advance  was  so  marked 
that  in  1872  friends  enabled  hor  to  study  at 
Milan  under  Sangiovanni  and  then  at  Paris 
under  Mme.  Marchesi,  Wartel  and  Delle 
Sedie.  Her  operatic  debut  at  Covent  Garden 
in  1876  and  in  New  York  in  1877  in  'La  Fille 
du  Regiment'  was  followed  by  a  tour  in  Great 
Britain  under  Mapleson's  direction.  From 
1878  she  pursued  an  active  career  in  America, 
mostly  as  the  head  of  her  own  operatic  troupe, 
which  was  managed  by  Eugene  Wetherell 
of  New  York,  whom  she  married  in  1878.  She 
appeared  in  standard  Italian  works  and  English 
operettas,  but  in  Chicago  she  is  credited  with 
bringing  out  such  works  as  Gounod's  '  Mireille' 
and  Masse's  '  Paul  et  Virginie. '  For  a  time  she 
almost  rivaled  Miss  Kellogg  in  popularity,  and 
she  and  her  husband  (who  died  in  1888)  be- 
came wealthy.     [   R.6   ] 

A  BECKET,  THOMAS  (1843-1918).  See 
Register,  4. 

ABORN,  MILTON  (b.  1864)  and  SAR- 
GENT (b.  1866).     See  Register,  9. 

ABORN  OPERA  COMPANY,  THE,  was 
an  operatic  troupe  organized  in  1902  by  the 
brothers  Aborn  for  producing  lighter  operas 
in  English,  which  continued  for  several  years 
in  different  parts  of  the  country  with  consider- 
able success. 

ABOTT,  BESSIE  PICKENS  (1878-1919). 
See  Register,  8. 

ACADEMY  OF  MUSIC,  THE,  of  Boston, 
was  an  association,  formed  in  1833  under  the 
lead  of  Lowell  Mason,  which  established  a 
music-school,  promoted  the  recognition  of 
music  in  the  public  schools  and  the  holding  of 
'conventions'  in  many  places,  organized  a 
chorus  and  an  orchestra,  and  arranged  public 
lectures  on  musical  topics.  After  1847  its 
functions  were  taken  over  by  other  agencies. 
In  1838  the  Academy  chorus  of  about  200 
gave  Romberg's  '  Song  of  the  Bell,'  Neu- 
komm's '  David '  and  Zeuner's  '  Feast  of  Taber- 
nacles,' the  latter  perhaps  the  first  American 
oratorio.  In  1840-41  Beethoven's  1st  and  5th 
Symphonies  were  played  by  the  orchestra. 
See  L.  C.  Elson,  History  of  American  Music, 
pp.  52,  78-80,  and  Ritter,  Music  in  America, 
chap.  xii. 


ACADEMY  OF  MUSIC,  THE,  of  New 
York.  See  Vol.  i.  12,  Krehbiel,  Chapters  of  Op- 
era, and  article  by  Saerchinger  in  '  The  Musi- 
cal Quarterly,'  January,  1920,  pp.  84-5.  As 
an  operatic  headquarters  it  ceased  to  be  im- 
portant in  1897. 

ACADEMY  OF  MUSIC,  THE,  of  Phila- 
delphia, was  a  theater  and  opera-house,  erected 
in  1857,  which  long  served  as  a  center  for 
opera-performances  and  concerts,  like  its  New 
York  predecessor. 

ADAMOWSKA,  Mme.     See  Szumowska. 

ADAMOWSKI.  JOSEPH  (July  4,  1862, 
Warsaw,  Poland),  in  1871-77  was  a  'cello- 
student  with  Kontski  and  Goebelt  at  the  War- 
saw Conservatory.  He  then  went  to  the 
Moscow  Conservatory  and  studied  'cello  with 
Fitzenhagen,  composition  with  Tchaikovsky 
and  piano  with  Pabst.  Meanwhile  he  also 
entered  the  University  and  graduated.  In 
1883  he  began  concert-tours  in  Poland  and 
Germany,  and  in  1885-87  was  professor  of 
'cello  and  ensemble-playing  at  the  Conserva- 
tory of  Cracow.  Coming  to  America  in  1889, 
he  played  in  the  Boston  Symphony  Orchestra 
till  1907,  and  also  in  the  Adamowski  Quartet 
and  Adamowski  Trio.  He  has  been  pro- 
fessor in  the  New  England  Conservatory  since 
1903.  He  is  one  of  the  founders  and  directors 
of  the  Boston  Symphony  Orchestra  pension- 
fund.  In  1896  he  married  the  pianist  Antoi- 
nette Szumowska.     [  R.7  ] 

ADAMOWSKI,  TIMOTH:fiE  (Mar.  24, 
1858,  Warsaw,  Poland),  having  studied  at  the 
Warsaw  Conservatory  with  Kontski  and 
Roguski  and  in  Paris  with  Massart,  came  to 
the  United  States  in  1879  as  a  violin-virtuoso. 
He  toured  with  Clara  Louise  Kellogg,  Emma 
Thursby  and  Max  Strakosch,  and  finally  with 
a  company  of  his  own.  In  1884-1908  he  was 
a  member  of  the  Boston  Symphony  Orchestra, 
resigning  to  become  teacher  of  the  advanced 
violin-classes  at  the  New  England  Conserva- 
tory. In  1890-94  he  conducted  popular  con- 
certs in  the  summer.  As  soloist  he  has 
appeared  in  Paris  with  the  Colonne  Orchestra, 
in  London  with  the  Philharmonic  Society 
under  Nikisch,  and  in  Warsaw  with  the  opera 
orchestra.  He  has  composed,  for  violin  and 
piano,  'Novelette,'  'Air  de  Ballet,'  'Bar- 
carolle,' 'Mouvement  de  Valse'  and  'Ber- 
ceuse.'    [  R.6  ] 

ADAMOWSKI  QUARTET,  THE,  was 
formed  at  Boston  in  1888  with  TimothSe 
Adamowski  as  leader,  E.  Fiedler  as  second, 
D.  Kuntz  as  violist  and  Giuseppe  Campanari 
as  'cellist.  In  1890  it  was  reconstituted  with 
A.  Moldauer,  Max  Zach  and  Joseph  Adamow- 
ski in  the  place  of  the  last  three. 


109 


110 


ADAMOWSKI  TRIO 


AIKEN 


ADAMOWSKI  TRIO,  THE,  was  formed 
at  Boston  in  1896  with  Mme.  Adamowska  as 
pianist,  Timothee  and  Joseph  Adamowski  as 
violinist  and  'cellist. 

ADAMS,  CHARLES  R.  (1834,  Charlestown, 
Mass.  :  July  3,  1900,  West  Harwich,  Mass.), 
had  for  early  teachers  Edwin  Bruce  and  Mme. 
Arnault.  In  1856  he  was  the  tenor  in  'The 
Creation '  with  the  Handel  and  Haydn  Society, 
and  for  the  next  five  years  sang  in  concert  and 
oratorio.  In  1861,  with  his  teacher  Mulder 
and  Mme.  Febbri-Mulder,  he  appeared  in 
concert  and  opera  in  the  West  Indies  and  in 
Holland.  Called  to  Vienna,  he  learned  his 
part  in  'La  Sonnambula'  in  three  days,  with 
successful  result.  After  a  tour  in  Russia  he 
was  engaged  for  three  years  at  Budapest, 
but  cut  this  short  to  accept  a  similar  offer 
from  the  Royal  Opera  in  Berlin.  With  an 
interim  of  one  year,  he  was  principal  tenor 
at  the  Imperial  Opera  at  Vienna  in  1867-76. 
He  sang  also  at  Madrid,  London,  and  Milan. 
Early  in  1877  he  returned  to  America,  and 
sang  in  German  opera  in  1877-78,  including 
the  first  American  performances  of  'Rienzi.' 
From  1879  he  lived  in  Boston,  where  he  was 
extremely  successful  as  a  teacher.  His  most 
effective  roles  were  Lohengrin,  Tannhiiuser, 
Raoul,  Masaniello,  Rienzi,  Manrico,  Vasco  da 
Gama  and  Don  Jos6.  J.  S.  Dwight  in  1877 
said  that  'his  was  the  robust  kind  of  tenor, 
of  large  compass,  evenly  developed,  under 
complete  control  and  intrinsically  very  sweet 
in  quality.  He  sang  superbly,  in  a  large, 
frank,  masterly,  dramatic  style,  each  tone 
fraught  with  meaning  and  intention.'   [  R.4  ] 

ADAMS,  Mrs.  CROSBY,  n6e  Graves  (b. 
1858).     See  Register,  7. 

ADAMS,  F.  W,  (1787-1859).  See  Regis- 
ter, 3. 

ADAMS,  SUZANNE  (1873,  Cambridge, 
Mass.),  early  went  abroad  for  study,  becoming 
a  pupil  of  Bouhy  in  Paris.  In  1894  her  d6but 
was  made  as  Juliette  at  the  Paris  Op6ra  where 
she  sang  for  three  years,  followed  by  one 
season  at  Nice.  In  1898  she  was  engaged  by 
Grau  at  Covent  Garden,  and  appeared  there 
each  year  until  1906.  In  1898  she  made  her 
American  d6but  in  Chicago,  and  at  the  Metro- 
politan Opera  House  in  1899.  She  married 
the  English  'cellist  Leo  Stern  in  1898,  toured 
the  United  States  with  him  in  1902-03  and 
on  his  death  in  1904  retired  from  the  stage  for 
a  year.  She  has  been  a  favorite  singer  at 
Buckingham  Palace  and  has  frequently 
appeared  in  oratorio  in  England,  where  she  has 
made  her  home  since  1903.  Her  favorite 
operatic  r61es  are  Juliette,  Marguerite,  Euri- 
dice,  Gilda,  Micaela,  Zerlina,  Cherubino  and 
Donna  Elvira.     [  R.8  ] 

ADDINGTON,  STEPHEN.  See  Tune- 
Books,  1807. 


ADES,  LUCIUS.  See  Colleges,  3  (Friends 
U..  Kan.). 

ADGATE,  ANDREW  (d.  1793,  Phila- 
delphia), in  1784  founded  in  Philadelphia 
an  Institution  for  the  Encouragement  of 
Church  Music,  and  the  next  year  established  a 
Free  School  for  Spreading  the  Knowledge  of 
Vocal  Music,  which  developed  in  1787  into  the 
Uranian  Academy.  Among  the  managers 
of  the  latter  were  many  prominent  citizens, 
like  Hopkinson  and  Dr.  Rush.  From  before 
1785  Adgate  promoted  choral  concerts  at 
intervals,  with  programs  including  not  only 
music  by  Billings,  Lyon,  Tuckey  and  others, 
but  also  the  'Hallelujah'  from  'The  Messiah.' 
On  May  4,  1786,  he  gave  a  concert  at  the  Re- 
formed German  Church  with  a  chorus  of  230 
and  an  orchestra  of  50.  His  programs  and 
plans  (often  excellent)  are  detailed  in  Sonneck, 
Early  Concert-Life  in  America,  pp.  103-20. 
He  died  in  the  epidemic  of  yellow  fever  in 
1793,  but  the  Uranian  Academy  seems  to  have 
continued  tUl  after  1800.  For  his  publica- 
tions, see  Tune-Books,  1785.     [  R.2  ] 

^OLI AN  CHOIR,  THE,  of  Brooklyn,  N.  Y. . 
is  a  select  chorus  of  forty-five  voices  organized 
in  1912  by  N.  Lindsay  Norden  for  the  culti- 
vation and  promotion  of  Russian  a  cappella 
church-music.  He  prepared  for  it  English 
adaptations  of  over  ninety  Russian  composi- 
tions that  were  previously  inaccessible,  includ- 
ing many  that  are  extended  and  elaborate, 
sometimes  in  eight-part  and  even  ten-part 
form.  The  publication  of  these  works,  illus- 
trated by  the  recitals  which  the  Choir  gave 
in  or  about  New  York,  aroused  a  widespread 
interest  in  the  Russian  style.  See  articles  by 
Norden  in  the  M.  T.  N.  A.  Proceedings,  1915, 
and  'The  Musical  Quarterly,'  April,  1918. 

^OLIAN  COMPANY,  THE,  of  New  York, 
has  long  been  famous  for  making  automatic 
instruments  like  the  JSolian  and  the  Pianola. 
It  is  part  of  the  complex  corporation  known  as 
the  JEolian,  Weber  Piano  and  Pianola  Co. 
(capital,  $10,000,000),  which  also  has  absorbed 
the  Weber  Piano  Co.,  Steck  &  Co.,  the  Wheel- 
ock  Piano  Co.,  the  Stroud  Piano  Co.,  the 
Vocalion  Organ  Co.,  the  Votey  Organ  Co., 
the  Orchestrelle  Co.  of  Great  Britain,  the 
Choralion  Co.  of  Germany  and  Austria,  etc. 
This  combination  of  interests  is  one  of  the 
largest  instrument-makers  in  the  world.  The 
central  office  is  at  29-33  West  42nd  St.,  and 
in  its  building  is  .^Eolian  Hall,  which  is  one  of 
the  fine  concert-halls  in  New  York.  The 
president  of  the  Company  is  H.  B.  Tremaine. 

AGRAMONTE,  EMILIO  (1844-  ?  ).  See 
Register,  5. 

AIKEN,     CHARLES      (1818-1882).      See 

AIKEN,"  HENRY  M.  (1824?-  ?  ).  See 
Register,  4. 


AIKEN 


ALLEN 


111 


AIKEN,  WALTER  H.  (b.  1856).     See  Reg- 
ister, 6. 
AIKIN,  J.  B.    See  Tune-Books,  1847. 
AITKEN,  JOHN.     See  Tune-Books,  1787. 
'   AKER,  J.  HARRY.    See  Colleges,  3  (Cen- 
tral C,  Ark.)- 

ALBANI,  EMMA.  See*  article  in  Vol.  i.  59. 
The  correct  birth-year  is  1852.  She  retired 
from  active  work  in  1906  and  in  1911  made  her 
farewell  appearance  at  a  concert  in  Albert 
Hall,  London.  See  her  autobiography,  Emma 
Alhani,  Forty  Years  of  Song,  1911,  and  H.  S. 
Edwards,  The  Prima  Donna,  1888.     [  R.5  ] 

ALBEE,  AMOS  (1772-  ?  ).  See  Tune- 
Books,  1805. 

ALBRECHT,  CHARLES.    See  Register,  2. 
ALBRECHT,  H.  F.   (d.   1875).    See  Reg- 
ister, 4. 

ALDA,  FRANCES  [name  originally  Davis] 
(May  31,  1883,  Christchurch,  New  Zealand), 
received  her  general  education  in  Melbourne, 
Australia.  She  studied  singing  in  Paris  with 
Mme.  Marchesi,  and  in  1904  made  her  d6but 
at  the  Op6ra-Comique  as  Manon.  She  then 
sang  at  Brussels,  London,  Milan,  Warsaw  and 
Buenos  Aires.  In  1908  she  made  her  first 
appearance  at  the  Metropolitan  Opera  House 
as  Gilda  in  'Rigoletto,'  and  has  since  sung 
there  regularly.  In  1910  she  married  Giulio 
Gatti-Casazza,  the  manager  of  the  Metro- 
politan. She  has  created  soprano  roles  in 
Gilson's  '  Princesse  Rayon  de  Soleil,'  Messager's 
'Madame  Chrysanth^me,'  Puccini's  'Le  Villi,' 
Damrosch's  'Cyrano  de  Bergerac'  and  Her- 
bert's 'Madeleine,'  and  in  American  produc- 
tions of  Borodin's  'Prince  Igor,'  Zandonai'a 
'Francesca  da  Rimini'  and  Rabaud's  'Milrouf.' 
In  addition  to  these  works  her  repertoire  in- 
cludes the  roles  of  Mimi,  Desdemona,  Mar- 
guerite (in  'Faust'),  Juliette,  Traviata,  Aida, 
Manon  Lescaut  (Puccini)  and  Margherita 
(in  'Mefistofele').  She  ia  also  an  esteemed 
concert-singer.     [  R.9  ] 

ALDEN,  JOHN  CARVER  (Sept.  11,  1852, 
Boston),  studied  piano  with  Faelten  in  Boston 
and  in  Leipzig  was  a  pupil  of  Paul,  Plaidy  and 
Papperitz.  In  1880  he  began  teaching  in 
Boston  as  an  associate  of  Faelten  in  the  New 
England  Conservatory.  He  taught  for  a  period 
in  New  York,  then  for  some  years  at  Converse 
College,  Spartanburg,  S.  C,  and  more  recently 
at  the  Quincy  Mansion  School,  Wollaston, 
Mass.  Besides  being  highly  esteemed  as  a 
piano-teaoher,  he  has  composed  a  piano-con- 
certo in  G  minor,  piano-pieces  and  technical 
studies,  songs  like  'Du  bist  wie  eine  Blume,' 
and  anthems.     [  R.6  ] 

ALDRICH,  A.     See  Tune-Books,  1859. 
ALDRICH,  M ARISKA  (b.  1883) .    See  Reg- 
ister, 9. 

ALDRICH,  PERLEY  DUNN  (Nov.  6, 
1863,  Blackstone,  Mass.),  was  trained  at  the 


New  England  Conservatory  in  Boston,  study- 
ing in  1883-86  with  Emery,  Maas  and  Whiting. 
In  1892  he  went  to  London  for  three  years  of 
vocal  study  with  Shakespeare  and  then  pro- 
ceeded to  Paris  for  lessons  with  Trabadello. 
He  taught  at  the  University  of  Kansas  in 
1885-87,  at  the  Tremont  School  of  Music, 
Boston,  in  1888,  at  the  Utica  Conservatory 
in  1889-91,  privately  at  Rochester  in  1891- 
1903,  and  since  1903  in  Philadelphia.  During 
the  summers  of  1903,  '04  and  '08  he  was  assist- 
ant to  Sbriglia  in  Paris.  He  has  given  many 
song-recitals  with  unique  programs,  and  has 
composed  the  cantatas  'La  Belle  Dame  sans 
Merci,'  for  male  voices  (1895)  and  'The 
Sleeping  Wood-Nymph'  (1896),  and  about 
25  songs.  He  is  the  author  of  Vocal  Economy, 
1895,  and  has  been  a  frequent  contributor  to 
musical  magazines.     [  R.7  ] 

ALDRICH,  RICHARD  (July  31,  1863, 
Providence,  R.  I.),  was  educated  at  the  Provi- 
dence High  School  and  Harvard  College, 
where  he  graduated  in  1885.  He  studied 
music  with  Paine,  but  upon  graduation  en- 
gaged in  newspaper-work  on  tjie  Providence 
'Journal.'  In  1888-89  he  studied  in  Germany, 
giving  much  attention  to  music.  In  1889-91 
he  was  in  Washington  as  private  secretary  to 
Senator  Dixon,  with  some  critical  work  on  the 
'  Evening  Star. '  In  1891-1902  he  held  various 
positions  on  the  New  York  '  Tribune, '  such  as 
assistant  literary  editor  and  Sunday  editor, 
besides  helping  with  musical  criticism  under 
Krehbiel.  In  October,  1902,  he  became 
music-editor  of  the  New  York  '  Times,'  contin- 
uing until  December,  1917,  when  he  resigned 
to  enter  military  work  in  Washington.  He 
was  commissioned  captain  in  the  National 
Army  (as  it  was  then)  and  later  became  cap- 
tain in  the  United  States  Army,  attached  to 
the  Intelligence  Division  of  the  General  Staff. 
In  1919  he  returned  to  his  place  on  the  '  Times. ' 
His  writings  on  musical  subjects,  in  news- 
papers and  books,  are  highly  valued  for  their 
sanity  and  clarity.  He  has  published  a  Guide 
to  Parsifal,  1904,  a  Guide  to  the  Ring  of  the 
Nihelung,  1905,  and  a  translation  of  Lilli 
Lehmann's  Meine  Gesangskunst  or  How  to  sing, 
1902,  '14.  He  joined  with  Krehbiel  in  con- 
tributing American  articles  to  the  revised 
edition  of  this  Dictionary  in  1904-10.     [  R.8  ] 

ALEXANDER,  LLOYD  L.    See  Colleges,  , 
3  (Hanover  C,  Ind.).  ' 

ALLEN,  BENJAMIN  DWIGHT  (Feb.  16, 
1831,  Sturbridge,  Mass.  :  Mar.  4,  1914, 
Wellesley,  Mass.),  was  educated  in  Worcester, 
where  he  lived  almost  sixty  years.  From  1845 
he  was  teacher  and  organist  there,  from  1857 
for  thirty-seven  years  at  the  Union  Congrega- 
tional Church.  In  1858  he  was  one  of  the 
founders  of  the  association  which  later  estab- 
lished the  Worcester  Festivals,  and  was  always 


112 


ALLEN 


AMATO 


active  in  it  as  accompanist,  organist,  associate- 
conductor  and  on  the  directorate.  In  1871- 
76  he  also  taught  at  the  New  England  Con- 
servatory in  Boston,  and  gave  some  lectures 
at  Boston  University.  After  1876  he  often 
lectured  elsewhere.  From  1894  he  was  head 
of  the  music-department  of  Beloit  College 
in  Wisconsin,  and  in  1902-05  was  organist 
in  New  York  both  at  the  Manhattan  Congre- 
gational Church  and  at  Teachers  College, 
retiring  in  1905  to  Wellesley,  Mass.,  to  busy 
himself  with  composition.  About  a  score  of 
his  songs  and  anthems  have  been  published, 
but  many  others  remain  in  manuscript.  He 
was  a  thorough  and  scrupulous  teacher,  and 
counted  among  his  pupils  the  heads  of  music- 
departments  in  at  least  six  colleges.  He  was 
a  member  of  the  Harvard  Musical  Association 
and  a  founder  of  the  A.  G.  O.     [  R.4  ] 

ALLEN,  CHARLES  N.  (1837,  York,  Eng- 
land :  Apr.  7,  1903,  Boston),  gained  his 
mastery  of  the  violin  under  Saenger  at  Paris, 
and  for  some  years  was  in  the  orchestra  at 
the  Op^ra.  In  1871  he  came  to  Boston, 
where  for  thirty  years  he  was  a  foremost 
player  and  teacher.  In  1873  he  organized 
the  Beethoven  Quintette  Club,  in  1877  joined 
the  Mendelssohn  Quintette  Club,  and  later  was 
a  member  of  the  Boston  Symphony  Orchestra. 
Among  his  pupils  was  Henry  K.  Hadley. 
Besides  being  a  superior  musician,  he  was  a 
man  of  great  culture  and  charm.     [  R.6  ] 

ALLEN,  EDWIN  L.  See  Colleges,  3 
(Mt.  Union  C,  Ohio). 

ALLEN,  FRANCIS  D.  See  Tune-Books, 
1818. 

ALLEN,  GEORGE  N.  (1812-1877).  See 
Register,  4. 

ALLEN,  HEMAN  (1836-  ?  ).  See  Regis- 
ter, 5. 

ALLEN,  NATHAN  HALE  (Apr.  14,  1848, 
Marion,  Mass.),  after  schooling  in  Provi- 
dence and  at  Phillips  (Andover)  Academy,  in 
1868  went  to  Germany.  In  Berlin  he  was  a 
pupil  of  Grell  in  singing  and  of  Haupt  in 
organ-playing,  and  later  studied  instrumenta- 
tion with  Van  der  Stucken  in  New  York. 
From  about  1870  he  was  organist  in  Hartford, 
Conn.,  in  1883-1906  at  the  Center  Congrega- 
tional Church.  Five  years  were  then  spent 
at  Piedmont  Church  in  Worcester,  and  in 
1915  he  returned  to  Hartford.  He  has  taught 
many  prominent  organists  and  has  been 
active  as  concert-organist  and  chorus-con- 
ductor. He  has  composed  many  songs,  part- 
songs,  organ-  and  piano-pieces,  a  collection  of 
40  liturgical  responses  and  two  sacred  cantatas. 
Many  of  his  fifty  published  anthems  have  been 
widely  used.  Among  the  compositions  as  yet 
unpublished  are  a  number  of  organ-pieces,  in- 
cluding a  'Pifece  Symphonique'  and  a  'Sym- 
phonic Fantasia ' ;  a  '  Concertante '  for  organ 


and  piano  ;  '  In  Memoriam '  for  organ,  piano 
and  strings ;  pieces  for  piano,  violin  and  'cello  ; 
and  numerous  vocal  compositions,  including 
the  cantata  'The  Apotheosis  of  St.  Dorothy.' 
He  has  several  printed  addresses  on  musical 
subjects,  and  has  devoted  much  time  to  inves- 
tigating the  musical  history  of  New  England. 
He  is  one  of  the  founders  of  the  A.  G.  O.,  an 
original  member  of  the  New  York  Manu- 
script Society,  and  has  repeatedly  served  as 
associate-conductor  of  the  Litchfield  Festival 
Chorus.  With  Leonard  W.  Bacon  he  edited 
The  Hymns  of  Martin  Luther,  1883.     [  R.6  ] 

ALLEN,  WARREN  DWIGHT  (b.  1885). 
See  Colleges,  3  (C.  of  the  Pacific,  Cal.). 

ALLEN,  WILLIAM  FRANCIS  (1830- 
1889).     See  Register,  6. 

ALLER,  GEORGE  HENRY  (b.  1871).  See 
Register,  8. 

ALTHOUSE,  PAUL  SHEARER  (b.  1889). 
See  Register,  10. 

ALTSCHULER,  MODEST  (Feb.  15,  1873, 
Mogilev,  Russia),  was  at  first  a  violin-student, 
but  soon  changed  to  the  'cello,  which  he 
studied  in  1884-86  with  Gobelt  at  the  Warsaw 
Conservatory.  His  fij-st  public  appearance, 
at  thirteen,  was  with  the  conservatory  orches- 
tra under  the  direction  of  Zarzycki.  Gradu- 
ating with  honors,  he  won  a  scholarship  at  the 
Moscow  Conservatory,  where  he  studied  'cello 
with  Fitzenhagen  and  Von  Glen  and  com- 
position with  Arensky,  Tanieiev  and  Safonov. 
On  graduating  in  1890  he  was  awarded  a  silver 
medal.  He  toured  Europe  with  the  Moscow 
Trio,  and  finally  came  to  New  York  as  'cellist 
and  teacher.  In  1903  he  organized  the 
Russian  Symphony  Orchestra,  of  which  he 
has  since  been  conductor.  Its  first  concert 
was  on  Jan.  7,  1904,  in  New  York.  Since 
that  time  the  Orchestra  has  visited  most  of 
the  cities  in  the  United  States,  making  three 
trans-continental  tours  before  1914.  He  has 
orchestrated  several  modern  Russian  works, 
including  the  Tchaikovsky  piano-trio.     [  R.9  ] 

AMATO,  PASQUALE  (Mar.  21,  1878, 
Naples,  Italy),  after  graduating  from  the 
Instituto  Tecnico  Domenico,  studied  at  the 
Naples  Conservatory  in  1896-99  and  made 
his  d6but  as  Germont  in  'La  Traviata'  at  the 
Teatro  Bellini  in  1900.  He  then  made  the 
round  of  the  leading  theaters  of  Italy,  and 
sang  in  Prague,  Munich,  Dresden,  Leipzig, 
Berlin,  Budapest,  Vienna,  Brussels  and  Paris. 
In  1908  he  came  to  the  Metropolitan  Opera 
House  in  New  York,  continuing  to  the  present. 
He  has  sung  two  seasons  in  London  and  six  in 
Buenos  Aires,  and  is  regarded  as  one  of  the 
leading  operatic  baritones  of  the  day.  His 
favorite  roles  are  in  '  I  Pagliacci,' '  II  Trovatore,' 
'Un  Ballo  in  Maschera, '  'Prince  Igor,'  Napo- 
leon in  'Madame  Sans-Gene, '  Amfortas  in 
'Parsifal'    and    the    Toreador    in    'Carmen.' 


AMBROSE 


AM.  GUILD  OF  ORGANISTS    113 


He  has  created  the  parts  of  King  Hadraot 
(in  'Armida'),  Carlo  Worms  (in  'Germania'), 
Jack  Ranee  (in  'The  Girl  of  the  Golden  West') 
and  Golaud  (in  'Pelleas  et  Mclisande')- 
Equally  popular  as  a  concert-singer,  he  has 
appeared  with  the  Boston,  Philadelphia  and 
Chicago  Symphony  Orchestras  and  the  New- 
York  Philharmonic  Society.  He  is  a  popular 
'festival-artist'  and  has  made  many  concert- 
tours.     [  R.9  ] 

AMBROSE,  PAUL  (Oct.  11,  1808,  HamU- 
ton,  Ont.),  was  the  son  of  the  composer  Robert 
S.  Ambrose.  His  general  education  was  in  the 
public  schools  of  Hamilton  and  at  the  Colle- 
giate Institute.  He  studied  piano  there  with 
his  father,  and  in  New  York  with  Parsons 
and  Miss  Chittenden,  composition  with  Klein 
and  orchestration  with  Buck.  He  was  organist 
at  the  Madison  Avenue  (M.  E.)  Church  in 
1886-1890,  organist  at  St.  James'  (M.  E.) 
Church  in  1890-1917,  and  since  1917  at  the 
First  Presbyterian  Church  in  Trenton,  N.  J. 
He  has  taught  and  lectured  on  music-history 
at  several  schools,  including  the  Institute  of 
Applied  Music  in  New  York,  and  since  1904 
has  been  director  of  music  at  the  State  Normal 
School  at  Trenton.  He  has  composed  songs, 
choruses,  piano-  and  organ-pieces.     [  R.7  ] 

'AMERICA'  is  the  title  usually  applied 
either  to  the  patriotic  hymn  beginning  'My 
country,  'tis  of  thee'  or  to  the  tune  associated 
with  it.  The  hymn  is  by  Rev.  Samuel  Francis 
Smith,  D.  D.  (1808-1895),  a  distinguished 
Baptist  clergyman,  professor,  editor  and 
hymnist.  The  tune  is  the  same  as  that  of  the 
English  'God  save  the  King,'  which  has  also 
been  adopted  into  German  and  Danish  use. 
Dr.  Smith  wrote  the  verses  early  in  1832, 
while  still  a  theological  student  at  Andover 
Seminary,  to  fit  the  music  as  found  in  a  German 
song-book  referred  to  him  by  Lowell  Mason. 
They  were  probably  first  sung  publicly  under 
Mason's  direction  at  a  children's  celebration 
at  Park  Street  Church  in  Boston  on  July  4, 
1832,  and  they  soon  became  popular  and  were 
included  in  standard  hymn-books  from  Smith 
and  Stow's  Psabnist  (1843)  onwards.  See 
Burrage,  Baptist  Hymn-Writers,  pp.  329-34, 
Julian,  Diet,  of  Hyrnnology,  under  'Smith' 
and  'God  save  the  King,'  and  many  other 
books  on  hymnody,  and  also  Vol.  ii.  188-91, 
of  this  Dictionary,  Sonneck,  Report  on  '  The 
Star  Spangled  Banner,'  etc.,  pp.  73-8,  158-60, 
and  many  books  on  popular  and  national 
airs. 

'AMERICAN  ART  JOURNAL,  THE,' 
established  in  New  York  in  1863,  for  many 
years  gave  much  attention  to  musical  subjects. 
See  Watson,  H.  C,  in  Register,  4,  and  Thoms, 
W.  M.,  in  Register,  5. 

AMERICAN  COLLEGE  OF  MUSICIANS, 
THE,  was  organized  in  1884  by  Edward  M. 
I 


Bowman  under  the  general  auspices  of  the 
Music  Teachers'  National  Association.  It 
was  modeled  upon  the  College  of  Organists  in 
England,  and  was  intended  to  be  exclusively 
an  agency  for  examination  and  certification 
as  to  professional  proficiency.  The  branches 
included  were  piano,  organ,  voice,  violin, 
theory  and,  later,  public-school  teaching,  and 
grades  of  attainment  were  marked  by  grant- 
ing the  use  of  the  terms  'associate,'  'fellow'  or 
'master.'  About  1895  the  Board  of  Regents 
of  the  State  of  New  York  empowered  the 
College  to  grant  the  degrees  of  Mus.B.  and 
Mus.D.  The  organization  began  with  about 
140  charter-members,  including  a  fine  repre- 
sentation of  foremost  musicians.  The  presi- 
dent from  1884  was  Mr.  Bowman,  who  was 
succeeded  in  1893  by  A.  R.  Parsons.  For 
ten  years  or  more  the  system  of  examinations 
was  maintained  upon  a  high  plane,  and  the 
total  number  of  candidates  was  about  235,  of 
whom  about  half  were  approved,  mostly  as 
'associates.'  But  after  1895,  apparently  for 
mechanical  and  financial  reasons,  the  organ- 
ization became  inoperative.  In  1910  Mr. 
Bowman  urged  the  revival  of  its  work,  but 
without  practical  result.  See  Mathews,  Hun- 
dred Years  of  Music,  pp.  539-41,  and  a  paper 
by  Bowman  in  M.  T.  N.  A.  Proceedings,  1912, 
pp. 145-56. 

AMERICAN  CONSERVATORY  OF  MU- 
SIC, THE,  of  Chicago,  was  organized  in 
1886  and  incorporated  in  1887.  The  founder 
was  John  J.  Hattstaedt,  who  has  remained  its 
director  since  1894,  assisted  by  Karleton 
Hackett  and  Adolf  Weidig.  Its  aim  is  'to 
offer  the  best  instruction  in  all  branches  of 
music  and  dramatic  art  by  teachers  of  broad 
education  thoroughly  in  sympathy  with  Amer- 
ican life  and  its  needs.'  The  number  of 
teachers  is  about  100,  and  the  number  of 
students  over  2200  annually.  There  are  over 
1400  graduates,  of  whom  about  275  received  the 
degree  of  Mus.B.  In  addition  to  all  the  lines  of 
usual  instruction  fine  opportunities  are  given  for 
choral  and  orchestral  experience,  for  operatic 
and  dramatic  training,  for  musical  pedagogy  in 
all  its  applications,  etc. 

AMERICAN  FEDERATION  OF  MUSI- 
CIANS, THE,  founded  in  1895,  aims  to  pro- 
mote the  interests  of  musicians  employed  in 
orchestras,  bands  and  the  like.  It  has  about 
750  local  unions  in  the  United  States  and 
Canada,  with  a  total  membership  of  about 
85,000,  the  president  being  J.  N.  Weber,  110- 
112  W.  40th  St.,  New  York. 

AMERICAN  GUILD  OF  ORGANISTS, 
THE,  See  Vol.  i.  77,  and  add  that  in  1919 
the  Guild  had  over  23  chapters  in  the  United 
States  and  Canada,  and  a  total  membership 
of  1925,  of  whom  150  now  rank  as  'fellows.' 
The  honorary  presidents  have  been  from  1896 


114  AM.  INST.  OF  APPLIED  MUSIC 


ANDERSON 


Dudley  Buck,  from  1899  Gerrit  Smith,  from 
1902  S.  P.  Warren,  from  1906  H.  W.  Parker, 
and  in  1909-12  Arthur  Foote;  in  1912  the 
office  was  discontinued.  The  wardens  have 
been  successively  Gerrit  Smith,  Sumner 
Salter,  W.  H.  HaU,  R.  H.  Woodman,  S.  A. 
Baldwin,  J.  H.  Brewer,  W.  R.  Hedden,  Frank 
Wright,  J.  W.  Andrews,  Clifford  Demarest 
and  Victor  Baier.  The  Clemson  anthem-prize 
has  been  won  by  W.  C.  Macfarlane,  S.  N.  Pen- 
field,  H.  J.iStewart,  J.  S.  Ford,  W.  Y.  Webbe, 
Mark  Andrews,  Herbert  Sanders  and  William 
Berwald.  The  general  office  is  at  29  Vesey 
Street,  New  York. 

AMERICAN  INSTITUTE  OF  APPLIED 
MUSIC,  THE,  in  New  York,  was  incorpo- 
rated in  1900  to  continue  the  work  of  the 
Metropolitan  College  of  Music  and  other 
schools.  Kate  S.  Chittenden,  founder  of  the 
Synthetic  Piano  School  in  1887  and  on  the  staff 
of  the  College  from  1892,  has  been  the  efficient 
dean  from  the  first.  In  its  regular  curriculum 
the  Institute  aims  at  systematic  thoroughness, 
with  much  emphasis  upon  pedagogical  method, 
largely  with  reference  to  those  expecting  to 
teach.  The  enrolment  averages  about  350  per 
year.  More  than  1000  teachers  have  received 
certificates.  The  Institute  is  located  at  212 
West  59th  Street. 

AMERICAN  OPERA  COMPANY,  THE, 
was  an  enterprise  organized  in  1885  under  the 
lead  of  Mrs.  Jeannette  Thurber  of  New  York 
for  the  giving  of  opera  in  English  with  extreme 
artistic  perfection  and,  so  far  as  practicable, 
with  American  artists,  not  only  in  New  York, 
but  in  several  other  cities.  Theodore  Thomas 
was  secured  as  musical  director,  and  no  pains 
were  spared  in  recruiting  the  orchestra,  the 
staff  of  soloists  and  the  chorus.  The  Academy 
of  Music  was  tastefully  renovated  for  the 
New  York  season,  which  opened  on  Jan.  4, 
1886,  and  ran  to  sixty-six  performances,  with 
a  later  tour  to  Boston,  Philadelphia,  Baltimore, 
Washington,  Chicago,  etc.  The  repertoire 
included  'Orpheus,'  'The  Magic  Flute,' 
'Martha,'  'The  Merry  Wives,'  'The  Flying 
Dutchman,' '  Lohengrin,'  Masse's  'The  Mar- 
riage of  Jeannette,'  '  The  Taming  of  the  Shrew' 
and  '  Lakme.'  The  venture  proved  over- 
ambitious  and  its  financial  foundation  in- 
sufficient, and  in  1887  it  was  abandoned  and 
was  succeeded  by  a  new  organization,  called 
the  National  Opera  Company.  See  Mrs. 
Thomas,  Memoirs  of  Theodore  Thomas,  pp. 
279-96,  and  Krehbiel,  Chapters  of  Opera,  pp. 
139-44. 

AMERICAN  ORGAN.  The  English  name 
for  the  type  of  reed-organ  developed  in  the 
United  States  from  about  1850-60.  See  Vol.  i. 
77-8,  and  pamphlet  by  Henry  L.  Mason,  The 
History  and  Development  of  the  American 
Cabinet  Organ,  n.  d. 


AMERICAN  PIANO  COMPANY,  THE, 
of  New  York,  was  formed  in  1908,  with  a 
capital  of  $12,000,000,  to  unite  the  interests 
of  Chickering  &  Sons,  EInabe  &  Co.,  Haines 
Brothers,  Marshall  &  Wendell  and  several 
other  firms.  It  has  not  only  carried  forward 
the  established  business  of  all  of  these,  but 
developed  with  marked  success  the  player- 
pianos  and  similar  devices  connected  with 
them.  The  name  'Ampico'  is  applied  to  the 
most  perfect  of  these  latter,  which  has  excep- 
tional facility  in  recording  and  reproducing 
tone-colors  and  nuances.  Its  inventor  was 
Charles  D.  Stoddard,  and  it  was  first  publicly 
shown  in  1916. 

'AMERICAN  SYMPHONY.'  A  name 
often  given  to  Dvoi'dk's  Symphony  No.  5,  in 
E  minor,  'From  the  New  World,'  produced  in 
New  York  in  1893. 

AMERICAN  SYMPHONY  ORCHESTRA, 
THE,  of  Chicago,  was  founded  in  1915  by 
Glenn  Dillard  Gunn,  who  has  remained  its 
conductor.  Its  object  is  to  present  American 
compositions  exclusively.  Among  the  im- 
portant works  thus  far  brought  forward  are 
the  following : 

H.  K.  Hadley :   Dramatic  Overture,  '  Herod.' 

Eric  DeLamarter :    '  Alice  in  Wonderland '  Suite  ; 

'  Overture  to  a  Comedy.' 
J.  A.  Carpenter :   '  Gitangili,'  songs  for  soprano  and 

orchestra  (texts  by  Tagore). 
Leo  Sowerby :   '  Homage  to  English  Country-Folk.' 

settings  of    three  folk-songs;    Symphonic   Poem, 

'The  Sorrows   of  Midath';    Concerto   for   violin 

and  orchestra ;  '  Marching-Song,'  for  strings  and 

piano. 
Clarence  Loomis :  Concerto  for  piano  and  orchestra  ; 

Fantasy  for  piano  and  orchestra. 
R.  G.  Cole:  Symphonic  Prelude,  'King  Robert  of 

Sicily.' 
Arthur  Dunham :  Overture,  '  In  Autumn.' 
George  Colburn :  '  Montezuma  '  Suite  ;   '  The  Song 

of  the  Drum,'  for  chorus  and  orchestra. 
Clarence  Burley :   Concerto  for  violin  and  orchestra. 
C.  W.  Cadman :   '  Indian '  Suite. 
Roland  Leach :   Overture,  '  Legend.' 
Herbert  Butler ;  Ballade. 

ANDERSON,  ARTHUR  OLAF  (Jan,  30, 
1880,  Newport,  R.  I.),  was  a  pupil  of  Norris  in 
Boston,  of  Guilmant,  Guiraud  and  d'Indy  in 
Paris,  of  Dura  in  Berlin,  and  of  Sgambati 
in  Rome.  In  1905-08  he  taught  theory  in 
Berlin.  In  1908  he  came  to  Chicago  and 
joined  the  faculty  of  the  American  Conserva- 
tory, with  which  he  is  still  connected.  He 
has  composed  an  orchestral  suite,  'The  Brook' ; 
other  music  for  large  and  small  orchestra ; 
suites  for  piano,  organ  and  violin  ;  two  sonatas 
for  piano;  twelve  fugues;  an  'Ave  Maria,' 
for  soprano  and  orchestra ;  two  song-cycles, 
'Pilgrimage  to  Kevlaar'  and  'The  Child's 
Garden  of  Verses ' ;  fifty  songs  and  various 
choruses.     [  R.9  ] 


ANDERSON 


APOLLO  CLUB 


115 


ANDERSON.  JOHANNA.    See  Colleges, 
3, (U.  of  Omaha,  Neb.). 

ANDERSON,  [O.  WALDEMAR.    See  Col- 
leges, 3  (Gustavus  Adolphus  C,  Minn.). 

ANDERSON,  STYLES  R.  See  Colleges, 
3  (Simmons  C,  Tex.). 

ANDRES,  HENRY  GEORGE  (1838-  ?  ). 
See  Register,  5. 

ANDREWS.     See  Tune-Books,  1800. 

ANDREWS,  GEORGE  WHITFIELD  (Jan. 
19,  1861,  Wayne,  O.),  has  been  associated  with 
Oberlin,  O.,  for  almost  his  entire  life.  He 
began  the  study  of  piano  there  at  six,  organ  at 
nine  (with  F.  B.  Rice)  and  at  twelve  made  his 
first  public  appearance,  playing  a  Bach  Prel- 
ude and  Fugue.  For  a  time  before  1879  he 
was  organist  of  the  First  Church  of  Oberlin, 
and  then  played  and  taught  two  years  at 
Meadville,  Pa.,  and  one  year  at  Toledo.  In 
1882  he  became  organist  of  the  Second  Church 
in  Oberlin,  a  position  he  still  holds.  Since 
1882,  also,  he  has  been  connected  with  the 
Musical  Union,  first  as  organist  and  since  1900 
as  conductor.  In  1880  he  began  teaching  at 
the  Conservatory,  and  since  1892  has  been 
professor  of  organ,  composition  and  orchestra 
tion.  He  graduated  from  the  Conservatory 
in  1879  in  organ,  piano,  violin  and  theory,  and 
studied  in  Leipzig  with  Papperitz  (organ) 
and  Jadassohn  (theory,  composition  and  piano), 
in  Munich  with  Rheinberger  (organ,  composi- 
tion and  orchestration,  1885-6),  and  in  Paris 
with  Guilmant  (organ  and  composition)  and 
d'Indy  (composition  and  orchestration,  1898- 
99).  He  was  made  Mus.D.  by  Oberlin  College 
in  1903.  His  interest  has  centered  in  the 
duties  connected  with  his  work  as  teacher  and 
conductor,  and  he  has  been  highly  successful 
in  both  fields,  besides  appearing  as  organ- 
recitalist  in  all  parts  of  the  country,  including 
the  great  Expositions.  He  was  a  founder  of 
the  A.  G.  O.  and  is  now  dean  of  the  Northern 
Ohio  Chapter.  His  published  organ-composi- 
tions are  a  March  in  C  Minor  and  'Poco 
Agitato'  (Schirmer),  Serenade  No.  1  and 
'Aria'  (Ashmall),  Serenade  No.  2  and  'Con 
Grazia'  (J.  Fischer  &  Bro.),  and  Fugue  in 
A  minor  (Leduc,  Paris).  The  Church  Co. 
publishes  three  sacred  songs  for  baritone. 
Still  in  manuscript  are  a  Suite  in  C  for  orches- 
tra (played  at  Oberlin  by  the  Chicago  Sym- 
phony Orchestra),  six  organ-sonatas,  four 
suites  for  organ,  a  Theme  and  Variations, 
many  separate  pieces  for  organ,  a  piano-trio, 
'Morning'  for  piano,  a  Magnificat  for  soprano 
and  piano,  and  a  Processional  and  Recessional 
for  chorus.     [  R.6  ] 

ANDREWS,  J.  WARREN  (Apr.  6,  1860, 
Lynn,  Mass.),  was  organist  at  Swampscott, 
Mass.,  when  but  twelve.  At  sixteen  he  went 
to  the  First  Baptist  Church  of  Lynn,  Mass., 
and  also  played  at  the  Boston  Street  Methodist 


Church.  In  1879  he  was  engaged  by  Old 
Trinity  Church  at  Newport,  R.  I.,  where  he 
remained  nine  years.  Then  followed  a  three- 
year  sojourn  at  the  Pilgrim  Church  in  Cam- 
bridge and  seven  years  at  the  Plymouth  Church 
in  Minneapolis.  In  1898  he  removed  to  the 
Church  of  the  Divine  Paternity  in  New  York, 
where  he  still  remains.  He  was  a  founder  of 
the  A.  G.  O.,  its  warden  in  1913-16  and  a 
member  of  the  council  for  many  years.  He 
has  also  held  official  positions  in  the  N.  A.  O. 
In  1895  he  established  a  school  for  organists 
and  singers  in  Minneapolis,  and  has  continued 
as  teacher  in  New  York.  Many  well-known 
church-musicians  have  been  among  his  pupils. 
His  published  works  are  few,  but  he  has  organ- 
pieces,  anthems,  Te  Deums  and  Canticles  that 
may  sometime  be  published.     [  R.6  ] 

ANGER,  JOSEPH  HUMPHREY  (June  3, 
1862,  Berkshire,  England  :  June  11,  1913, 
Toronto),  had  his  first  appointment  as  organist 
at  Frenchay,  near  Bristol,  and  while  there 
(1888)  he  won  the  gold  medal  offered  by  the 
Bath  Philharmonic  Society  for  a  setting  of 
Psahn  96  for  voices  and  orchestra.  Later 
he  matriculated  at  Oxford,  proceeding  as 
Mus.B.  in  1889.  He  became  assistant-master 
of  Surrey  County  School,  Cranleigh,  and 
then  organist  at  Ludlow.  In  1893  he  was 
appointed  professor  of  harmony  and  theory 
at  the  Toronto  Conservatory,  a  position  he  re- 
tained until  his  death.  He  was  also  examiner 
in  music  at  the  University  of  Toronto,  presi- 
dent of  the  Clef  Club,  conductor  of  the  Phil- 
harmonic Society,  dean  of  the  Ontario  chapter 
of  the  A.  G.  O.,  and  organist  at  St.  Andrew's 
Presbyterian  Church  and  later  at  the  Central 
Methodist  Church.  He  received  the  degree 
of  Mus.D.  from  the  University  in  1902  in 
appreciation  of  his  services  toward  the  advance- 
ment of  musical  education  in  Canada,  particu- 
larly in  Toronto.  He  was  the  author  of  a 
text-book  on  harmony.  Form  in  Music,  and 
a  pamphlet  on  The  Modern  Enharmonic  Scale, 
'  1907,  which  have  had  wide  use.  His  madrigal 
'  Bonnie  Belle '  won  the  London  Madrigal 
Society's  prize  in  1890.     [  R.8  ] 

ANSCHUTZ,  KARL  (1815-1870).  See  Reg- 
ister, 4. 

'ANTONIO.'  A  lyric  opera  by  Silas  G. 
Pratt,  written  about  1870  while  studying  at 
Munich  and  Berlin.  Selections  were  per- 
formed at  Chicago  in  1874  under  Balatka,  and 
in  March,  1887,  a  rewritten  version  under  the 
title  'Lucille'  was  given  entire  at  the  Colum- 
bian Theatre  there. 

'  APOLLO.'  No.  13  of  the  '  Grove-Plays '  of 
the  San  Francisco  Bohemian  Club,  produced 
in  1915.  The  text  is  by  Frank  Pixley  and  the 
music  by  Edward  F.  Schneider. 

APOLLO  CLUB,  THE,  of  Boston,  was 
founded  in  1871  and  incorporated  in  1873,  its 


116 


APOLLO  CLUB 


APTHORP 


nucleus  being  the  earlier  Chickering  Club.  It 
has  had  a  singularly  unbroken  history  along 
the  lines  originally  planned.  It  aims  to  main- 
tain a  male  chorus  of  superior  singers  for  the 
study  and  performance  of  part-songs  and 
concerted  works  for  an  audience  limited  to 
singers  and  subscribers.  The  active  members 
now  number  about  80,  and  the  associate  mem- 
bers 500.  From  1871  till  his  resignation 
in  1901  the  conductor  was  B.  J.  Lang,  who 
made  the  Club  famous.  He  was  followed  by 
Emil  Mollenhauer,  who  has  continued  the 
same  brilliant  record.  The  Club  Rooms  are  at 
3  Joy  Street.  Four  concerts  are  given  annu- 
ally, the  total  numlDer  being  about  250,  with 
eminent  soloists,  vocal  and  instrumental,  and 
often  a  full  orchestra  as  well.  In  the  list  of 
works  with  orchestra  given  in  Boston  for  the 
first  time  have  been  Mendelssohn's  'Antigone' 
and  'CEdipus  in  Colonos,'  Hiller's  'Easter 
Morning,'  Brambach's  'Columbus,'  Bruch's 
'Roman  Song  of  Triumph,'  Paine's  'ffidipus 
Tyrannus'  and  'Summons  to  Love,'  Brahms' 
'Rinaldo,'  Whiting's  'March  of  the  Monks 
of  Bangor,'  'Free  Lances'  and  'Henry  of 
Navarre,'  Foote's  'Farewell  of  Hiawatha,' 
and  Nicode's  'The  Sea'  —  several  of  these 
having  been  written  for  the  Club.  Many 
part-songs  by  American  composers  have  been 
prominent  on  the  programs.  See  Vol.  i.  369, 
and  article  in  'The  New  England  Magazine,' 
AprU,  1910,  by  Ethel  Syford. 

APOLLO  CLUB,  THE,  of  Brooklyn.  See 
Vol.  iii.  367. 

APOLLO  CLUB,  THE,  of  Cincinnati,  was 
organized  in  1882  and  under  the  leadership 
of  B.  W.  Foley  attained  a  position  of  marked 
importance. 

APOLLO  CLUB,  THE,  of  St.  Louis,  was 
founded  in  1893.  Its  conductor  till  1910 
was  Alfred  G.  Robyn  and  since  that  time 
Charles  Galloway.  It  is  a  male  chorus, 
limited  to  eighty  voices.  As  a  rule,  three 
concerts  are  given  annually  to  subscribers  and 
guests. 

APOLLO  MALE  CHORUS,  THE,  of  Pitts- 
burgh, was  organized  in  1904  by  Rinehart 
Mayer,  who  has  been  its  conductor  since 
then. 

APOLLO  MUSICAL  CLUB,  THE,  of 
Chicago,  was  organized  in  1872  —  the  year 
after  the  Great  Fire  —  through  the  efforts  of 
Silas  G.  Pratt  and  George  P.  Upton,  and  its 
first  concert  was  given  in  January,  1873. 
Originally  planned  as  a  male  chorus  after  the 
model  of  the  Apollo  Club  of  Boston,  in  1875  it 
was  expanded  into  a  mixed  chorus,  so  as  to 
undertake  works  of  the  largest  dimensions. 
Its  early  conductors  were  A.  W.  Dohn  (1872- 
74)  and  Karl  Bergstein  (1874-75),  but  the 
establishment  of  the  Club  as  a  highly  signifi- 
cant artistic  force  was  due  to  the  leadership  of 


William  L.  Tomlins  (1875-98)  and  since  1898 
that  of  Harrison  M.  Wild,  who  has  brought  the 
standard  of  quality,  balance  and  interpreta- 
tion to  the  highest  point.  The  chorus  now 
numbers  about  250  singers.  The  usual  num- 
ber of  concerts  annually  is  five,  and  the  total 
number  since  the  beginning  is  over  200. 

The  Club's  repertoire  includes  all  the  stand- 
ard oratorios  and  similar  large  works.  'The 
Messiah '  has  been  given  more  than  fifty  times. 
In  the  list  are  Bach's  St.  Matthew  Passion, 
Mass  in  B  minor  and  Magnificat,  Handel's 
'Judas  Maccabaeus,'  Mozart's  Requiem  Mass, 
Schumann's  Missa  Sacra,  Berlioz'  Requiem 
and  Te  Deum,  Verdi's  Requiem,  Brahms' 
Requiem,  Bruch's  'Frithjof,'  Dvorak's  Stabat 
Mater,  Massenet's  'Mary  Magdalene'  and 
'Eve,'  Grieg's  'Olaf  Trygvason,'  Elgar'a 
'Light  of  Life,'  'Apostles'  and  'Caractacus,' 
Pierne's  'Children's  Crusade,'  Parker's  'St. 
Christopher'  and  'Hora  Novissima,'  Georg 
Schumann's  'Ruth,'  Schmitt's  49th  Psalm, 
Wolf-Ferrari's  'New  Life,'  etc.  First  perform- 
ances in  America  include  Elgar's  'Dream  of 
Gerontius'  (1903),  Busch's  'King  Olaf  (1903), 
Woyrsch's  'Dance  of  Death'  (1911),  and 
Cowen's  'The  Veil'  (1915). 

APPLETON,  THOMAS.     See  Register,  3. 

APPY,  HENRI'(1828-   ?  ).    See  Register, 4. 

APTHORP,  WILLIAM  FOSTER  (Oct.  24, 
1848,  Boston  :  Feb.  19,  1913,  Vevey,  Switzer- 
land), was  long  the  most  influential  critic  in 
Boston.  In  1856-60  he  attended  schools  in 
Dresden,  Berlin  and  Rome.  He  graduated 
from  Harvard  in  1869.  Six  years  earlier  he 
had  begun  piano,  harmony  and  counterpoint 
with  Paine  and  piano-study  was  continued 
under  Lang.  During  his  last  year  at  Harvard 
he  was  conductor  of  the  Pierian  Sodality.  He 
taught  piano  and  harmony  at  the  National 
College  of  Music  in  Boston  in  1872-73,  and 
for  thirteen  years  was  with  the  New  England 
Conservatory,  teaching  piano  and  various 
branches  of  theory.  In  1872  Howells,  then 
editor  of  'The  Atlantic  Monthly,'  engaged  him 
as  musical  editor.  In  1876  he  undertook 
musical  criticism  for  the  'Sunday  Courier' 
and  two  years  later  both  musical  and  dramatic 
criticism  for  the  'Traveller.'  In  1881  he  be- 
came music-critic  on  the  '  Evening  Transcript,' 
soon  assuming  also  the  dramatic  work.  Both 
positions  he  held  until  1903,  when  he  gave  up 
actual  work.  His  remaining  years  were  spent 
chiefly  in  Switzerland.  In  addition  to  his 
critical  writing,  which  included  many  contribu- 
tions to  magazine  and  periodical  literature, 
he  taught  aesthetics  and  musical  history  for 
some  years  in  the  College  of  Music  of  Boston 
University,  and  gave  courses  of  lectures  at  the 
Lowell  Institute  in  Boston  and  at  the  Peabody 
Institute  in  Baltimore.  From  1892  to  1901  he 
edited  the  program-books  for  the  Boston  Sym- 


ARA 


ARNOLD 


117 


phony  Orchestra  concerts.  His  published  vol- 
umes are  Musicians  and  Music-Lovers,  1894, 
By  the  Way,  2  vols.,  1898,  The  Opera,  Past 
and  Present,  1901,  and  these  translations: 
Hector  Berlioz  —  Selections  from  his  Letters  and 
Writings,  1879,  Jacques  Damour,  etc.,  from 
Zola,  1895.  He  was  also  critical  editor  (with 
Champlin)  of  Scribner's  Cyclopedia  of  Music 
and  Musicians,  3  vols.,  1888-90.     [  R.6  ] 

ARA,  UGO  (b.  1876).     See  Register,  9. 

ARBUCKLE,  MATTHEW  (1828-1883). 
See  Register,  4. 

ARCHAMBEAU,  IVAN  D'  (b.  1879).  See 
Register,  9. 

ARCHER,  FREDERICK  (June  16,  1838, 
Oxford,  England  :  Oct.  22,  1901,  Pittsburgh). 
See  article  in  Vol.  i.  101.  His  work  in  Pitts- 
burgh began  with  the  opening  of  the  Carnegie 
Library  and  Music  Hall  on  Nov.  7,  1895,  when 
the  first  free  organ-recital  was  given.  The 
series  of  Pittsburgh  Orchestra  concerts  began 
on  Feb.  27,  1896,  and  his  engagement  as  con- 
ductor expired  on  Jan.  28,  1898.  The  Satur- 
day evening  and  Sunday  afternoon  free  organ- 
recitals  were  continued  till  his  death.  He  was 
also  organist  at  the  Church  of  the  Ascension 
in  Pittsburgh  and  musical  examiner  for  the 
University  of  Toronto.     [  R.7  ] 

'ARCHERS,  THE,'  An  opera  by  Benja- 
min Carr,  first  given  in  April,  1796,  at  the 
John  Street  Theater  in  New  York,  there  at 
least  twice  repeated,  and  in  Boston  in  1797. 
The  libretto  was  by  William  Dunlap  (1766- 
1839),  the  painter  and  play-writer,  and  is 
based  on  the  story  of  William  Tell.  Of  the 
music  the  only  fragments  known  are  a  Rondo 
from  the  overture  and  the  song  'Why,  hunt- 
ress, why  ?  '  See  Sonneck,  '  Early  American 
Operas,' in  J.  ilf.  G.  Sammelbde.  6.  465-73,  and 
Early  Opera  in  America,  pp.  98-100. 

ARDITI,  LUIGI  (1822-1903).  See  Vol.  i. 
102-3,  and  Register,  4. 

ARENS,  FRANZ  XAVIER  (Oct.  28,  1856, 
Neef,  Germany),  came  to  America  when 
a  child,  and  was  educated  at  the  Normal 
College  at  St.  Francis,  Wis.  He  studied 
music  with  his  father,  Clemens  Arens,  with 
John  Singenberger  in  Milwaukee,  and  in 
Germany  with  Rheinberger,  Abel,  Wiillner, 
Janssen  and  Hey.  He  has  been  professor  in 
Canisius  College  at  Buffalo,  conductor  of  the 
Cleveland  Philharmonic  Society  and  Gesang- 
verein  (1885-88),  and  president  of  the  Metro- 
politan School  of  Music  in  Indianapolis.  In 
1890-92  he  gave  concerts  of  music  by  Ameri- 
cans in  Vienna  and  the  principal  cities  of  Ger- 
many. Since  1896  he  has  been  located  in  New 
York  as  vocal  teacher  and  from  1900  as  founder 
and  musical  director  of  the  People's  Symphony 
Concerts,  the  object  of  which  is  to  provide  good 
music  at  low  prices.  He  has  composed  a  Sym- 
phonic Fantasia  for  orchestra,  a  canon  and 


fugue  for  organ,  choral  works  with  orchestra, 
and  many  songs  and  choruses.    [  R.7  ] 

tARENSKY,  ANTON  STEPANOVITCH 
(July  31,  1861,  Novgorod,  Russia  :  Feb.  26, 
1906,  Tarioki,  Finland).  See  article  in  Vol.  i. 
103,  and  add  to  the  list  of  compositions  the 
ballades  'The  Diver,'  op.  61,  for  solo,  chorus 
and  orchestra,  and '  The  Wolves,'  op.  59,  for  bass 
with  orchestra,  a  vioHn-concerto  in  A  minor, 
op.  54,  a  fourth  suite,  op.  62,  for  piano  duet, 
and  numerous  smaller  instrumental  pieces. 

ARIANI,  ADRIANO  (b.  1877).  See  Regis- 
ter, 10. 

ARIMONDI,  VITTORIO.     See  Register,  9. 

ARION  CLUB,  THE,  of  Providence,  a 
mixed  chorus  of  about  200  voices,  has  a  high 
reputation  for  artistic  excellence.  Started  in 
1880,  it  has  given  three  or  four  concerts 
annually  since  that  time,  the  conductor  from 
the  first  being  Jules  Jordan.  Besides  giving 
standard'oratorios  regularly  and  modern  works 
like  Elgar's  'Gerontius,'  'Caractacus,'  'King 
Olaf,'  Pierne's  'Children's  Crusade,'  Parker's 
'Hora  Novissima'  and  Chadwick's  'Phoenix 
Expirans,'  the  club  has  given  a  number  of 
operas  in  concert-form,  such  as  'Faust,' 
'Romeo  et  Juliette,'  'Aida,'  'Tannhiiuser'  and 
'Lohengrin,'  all  first  times  thus  in  America. 

ARION  MUSICAL  CLUB,  THE,  of  Mil- 
waukee, has  long  been  foremost  in  the  pro- 
duction of  choral  works  of  large  dimensions. 
Its  most  famous  conductors  have  been  William 
L.  Tomlins  in  1879-88  and  Daniel  Protheroe 
since  1899. 

ARION  SOCIETY,  THE,  of  New  York,  was 
founded  in  1854  as  a  rival  male  chorus  to  the 
older  Liederkranz.  Its  conductors  have  been 
Bergmann  in  1859-60  and  1867-71,  Anschiitz  in 
1860-62,  Ritter  in  1862-67,  Leopold  Damrosch 
in  1871-84,  Van  der  Stucken  in  1884-94  (tour 
to  Europe  with  the  Society  in  1892),  Lorenz  in 
1895-1913,  and  Carl  Hahn  in  1913-18.  See 
Vol.  iii.  369-70. 

ARMSTRONG,  JOHN.  See  Tune-Books, 
1816. 

ARMSTRONG,  WILLIAM  DAWSON  (b. 
1868).     See  Register,  8. 

ARNOLD,  Mb.,  Mrs.  and  Miss.  See  Reg- 
ister, 2. 

ARNOLD  [-STROTHOTTE],  MAURICE 
(b.  1865).     See  Register,  8. 

ARNOLD,  RICHARD  (Jan.  10,  1845, 
Eilenburg,  Prussia  :  June  21,  1918,  New  York), 
was  brought  to  America  in  1853  and  attended 
schools  in  Buffalo,  Memphis  and  Columbus. 
By  his  twelfth  year  he  had  conducted  theater- 
orchestras  in  Memphis  and  Columbus.  From 
1864  he  was  a  pupil  of  Ferdinand  David  at 
Leipzig,  where  he  remained  three  years. 
Returning  to  New  York,  he  played  in  the 
orchestra  at  Niblo's  Garden  for  a  time,  and 
then  became  a  first  violinist  under  Thomas  in 


118 


ARONSON 


ATWELL 


1869-76.  In  1878-91  he  was  solo  violinist 
in  the  New  York  Philharmonic  Club.  In 
1877  he  entered  the  New  York  Philharmonic 
Society,  and  in  1880-1909  was  its  concert- 
master,  playing  under  a  long  list  of  celebrated 
conductors.  In  1897  he  organized  the  Richard 
Arnold  String  Sextet.  The  last  years  of  his 
life  were  spent  in  New  York  as  teacher  and 
player.     [  R.5  ] 

ARONSON,  RUDOLPH  (1856-1919).  See 
Register,  6. 

ARQUIER,  JOSEPH  (1763-1816).  See 
Register,  3. 

ARTHUR,  ALFRED  (Oct.  8,  1844,  Pitts- 
burgh :  Nov.  20, 1918,  Lakewood,  0.),hadhis 
early  schooling  in  Ashland,  O.,  then  studied  in 
Boston  with  Baker,  Howard  and  Arbuckle, 
and  graduated  at  the  Boston  Music  School 
in  1869.  He  also  studied  harmony  and  com- 
position with  Eichberg  at  the  New  England 
Conservatory.  In  1869-71  he  was  tenor  at  the 
Church  of  the  Advent  in  Boston,  and  then 
moved  to  Cleveland,  where  he  remained  until 
his  death.  In  1871-78  he  was  tenor-soloist 
at  the  Second  Baptist  Church,  in  1878-90  con- 
ductor of  the  Sacred  Music  Society  of  the  Pil- 
grim Church,  in  1878-90  conductor  of  the  Bach 
Society  of  the  Woodland  Avenue  Church,  in 
1873-1902  conductor  of  the  Cleveland  Vocal 
Society.  From  1885  he  was  founder  and 
director  of  the  Cleveland  School  of  Music, 
and  his  last  years  were  given  entirely  to  it. 
He  composed  three  operas  (ms.),  'The  Water- 
Carrier'  (1875),  'The  Roundheads  and  Cava- 
liers' (1878)  and  'AdaHne'  (1879);  songs  and 
church-music.  He  published  Progressive  Vo- 
cal Studies,  1887,  Album  of  Vocal  Studies, 
1888,  Technical  Exercises  for  Soprano  or  Tenor 
(Schmidt),  74  Lessons  in  Voice-Training  (Pres- 
ser),  40  Vocal  Art-Studies  for  Soprano  and 
Elementary  Theory  of  Music  (not  yet  out). 
[R.5] 

■  ASHM ALL,  WILLIAM  E.  (b.  1860).  See 
Register,  7. 

ASHTON,  JOSEPH  NICKERSON  (Sept. 
7,  1868,  Salem,  Mass.),  secured  his  A.B.  from 
Brown  University  in  1891  and  his  A.M.  from 
Harvard  in  1893.  He  began  to  teach  in 
Boston  in  1895  and  the  same  year  became 
instructor  in  musical  theory  and  history  at 
Brown  University  and  in  1898-1904  was 
associate-professor  there.  In  1907-08  he  was 
acting-professor  of  music  at  Wellesley  College. 
Since  1907  he  has  been  music-director  at 
Abbot  Academy,  Andover,  Mass.,  and  in 
1908-12  was  also  director  and  organist  at 
Phillips  Academy  there.  In  1905  he  succeeded 
Goetschius  as  organist  of  the  First  Parish 
Church  in  Brookline,  Mass.  He  has  devoted 
much  time  and  attention  to  music  as  a  college- 
study  and  to  church-music.  He  edited  a 
Hymn   Book  for   Schools   and   Colleges,    1913, 


and  has  published  The  History  of  the  Salem 
Athenaum,  Salem,  Mass.,  1810-1910.  He  is  a 
trustee  of  this  latter  institution.     [  R.8  ] 

ASPLUND,  JOHN  (d.  1807).  See  Tune- 
Books,  1793. 

ASSOCIATION  OF  PRESIDENTS  AND 
PAST  PRESIDENTS  OF  STATE  AND 
NATIONAL  MUSIC  TEACHERS'  ASSO- 
CIATIONS, THE,  was  organized  in  1916 
under  the  lead  of  Liborius  Semmann  of  Mil- 
waukee. Its  object  is  to  promote  united 
action  to  standardize  instruction,  to  publish 
a  joint  periodical  for  the  several  associations, 
to  advocate  music  as  a  major  subject  in  public 
schools,  with  credit  for  outside  work  in  praxis, 
to  work  for  a  National  School  of  Music,  etc. 
It  has  published  five  annual  reports,  in  the 
third  of  which  are  requirements  for  certificates 
as  'licentiate,'  'associate'  and  'fellow.'  The 
president  for  1919-20  is  David  A.  Clippinger 
of  Chicago,  and  the  secretary  Arthur  L.  Man- 
chester of  Mexico,  Mo. 

ASTOR  PLACE  OPERA  HOUSE,  THE, 
erected  in  1847,  was  the  first  suitable  opera- 
house  in  New  York.  In  1847-48  it  was 
managed  by  Sanquirico  and  Salvatore  Patti 
(father  of  the  singer),  in  1848-49  by  Edward 
R.  Fry  (brother  of  W.  H.  Fry,  the  composer), 
and  after  1848  by  Maretzek.  It  was  sup- 
ported by  a  subscription  for  five  years,  but 
competition  was  so  strong  that  in  1852  it  was 
given  up.  The  building  became  the  Mer- 
cantile Library.  See  Krehbiel,  Chapters  of 
Opera,  pp.  14-5,  45ff.,  and  article  by  Saerch- 
inger  in  '  The  Musical  Quarterly,'  January, 
1920,  pp.  88-9. 

ATHERTON,  PERCY  LEE  (Sept.  25, 
1871,  Boston),  was  graduated  from  Harvard 
in  1893  with  honors  in  music,  and  then  pro- 
ceeded to  the  Munich  Conservatory,  where 
he  spent  two  years  under  Rheinberger  and 
Thuille.  In  1896  he  studied  with  Boise  in 
Berlin,  in  1900  with  Sgambati  in  Rome  and 
later  with  Widor  in  Paris.  He  has  composed 
the  comic  opera  'The  Heir  Apparent,' text  by 
Alfred  Raymond  (1888-90)  ;  'The  Maharaja,' 
an  Oriental  opera  comique,  text  by  Raymond 
(1897-1900)  ;  a  comic  opera  as  yet  unnrmed 
(1918-19);  the  symphonic  poem  'Noon  in 
the  Forest '  and  several  orchestral  sketches ; 
two  sonatas,  a  suite,  and  smaller  pieces  for 
violin  and  piano  ;  a  suite  for  flute  and  piano  ; 
many  piano-pieces ;  choruses,  part-songs,  song- 
cycles  and  about  100  solo  songs.    [  R.8  ] 

'  ATONEMENT  OF  PAN,  THE.'  No.  10 
of  [the  '  Grove-Plays '  of  the  San  Francisco 
Bohemian  Club,  produced  in  1912.  The  text 
is  by  Joseph  D.  Redding  and  the  music  by 
Henry  K.  Hadley.  The  title-role  was  taken 
by  Bispham. 

ATWELL,  THOMAS  H.  See  Tune-Books, 
1794. 


AUDITORIUM 


AUTOMATIC  APPLIANCES    119 


AUDITORIUM,  THE,  in  Chicago,  is  a 
complex  building,  including  an  opera-house, 
a  hotel  and  numerous  ofSces.  Its  erection  was 
due  to  an  association  formed  in  1886,  of  which 
Ferdinand  W.  Peck,  a  public-spirited  man  of 
wealth,  was  president.  The  building  was 
dedicated  on  Dec.  9,  1889,  with  ceremonies 
that  included  Dubois'  Tantaisie  Triomphale,' 
La  Tombelle's  'Fantaisie  de  Concert,'  Glea- 
son's  'Festival  Ode,'  several  oratorio  choruses 
and  songs  by  Patti.  The  opera-house  is 
one  of  the  largest  (over  4000  seats)  and  best- 
equipped  in  the  world.  From  the  first,  espe- 
cially under  the  efficient  management  of 
Milward  Adams  (till  1910),  it  has  been  fa- 
mous as  the  headquarters  not  only  for  opera- 
seasons,  but  for  every  variety  of  superior 
concert. 

AUDITORIUM,  THE,  in  Milwaukee,  is  an 
extensive  building  for  exhibition  and  concert 
purposes,  erected  in  1909.  The  main  hall  has 
a  seating  capacity  of  10,000,  and  there  are  six 
other  halls.  The  Auditorium  Orchestra  of 
45-50  players  was  organized  in  1909  to  give 
popular  symphony  concerts  on  Sunday  after- 
noons. Until  1913  there  were  various  con- 
ductors and  the  enterprise  was  supported  by 
popular  subscription.  Since  1913  the  con- 
ductor has  been  Hermann  A.  Zeitz,  and  the 
city  has  appropriated  about  $4000  annually 
to  cover  deficits  in  receipts.  The  average 
number  of  concerts  is  sixteen  each  season. 

AUDSLEY,  GEORGE  ASHDOWN  (Sept. 
6,  1838,  Elgin,  Scotland),  was  educated  as 
an  architect  and  followed  that  profession  in 
Elgin  until  1856.  He  then  moved  to  Liver- 
pool and  became  noted  by  designing  many 
important  public  and  private  buildings.  Since 
1892  he  has  worked  in  the  United  States,  add- 
ing to  his  reputation  as  architect,  decorator 
and  author.  As  early  as  1865  he  became 
interested  in  organs  and  organ-construction, 
the  first  result  being  the  construction,  by  him- 
self, of  a  house-organ  of  his  own.  This  in- 
strument, unique  in  specification  and  arrange- 
ment, earned  the  approval  of  Saint-Saens, 
HoUins  and  others,  and  recitals  were  given 
upon  it  by  distinguished  players.  In  1886-88 
he  published  a  series  of  articles  on  organ- 
making  in  'The  English  Mechanic  and  World 
of  Science,'  and  later  gave  a  course  of  lectures, 
advocating  flexibility  and  expression  in  aU 
the  divisions,  manual  or  pedal,  of  the  instru- 
ment. His  large  work  is  The  Art  of  Organ- 
Building,  2  vols.,  1905,  and  he  has  added 
The  Organ  of  the  Twentieth  Century,  1919,  a 
manual  of '  the  science  and  art  of  tonal-appoint- 
ment and  divisional-apportionment  with  com- 
pound expression,  and  a  treatise  on  Organ 
Stops,  1920.  The  scheme  of  the  large  organ 
at  the  Louisiana  Purchase  Exposition  at  St. 
Louis,  1904,  was  made  by  him.    He  is  author 


and  joint-author  of  over  twenty  works  on 
architecture,  art  and  industry.     [  R.9  ] 

AUER,  LEOPOLD  (June  7,  1845,  Veszpr6m, 
Hungary).  See  article  in  Vol.  i.  130.  In  May, 
1917,  he  went  to  Norway  for  a  vacation,  but 
could  not  return  to  Petrograd  because  of 
chaotic  political  and  social  conditions.  He 
decided  to  visit  America,  and  reached  New 
York  in  February,  1918.  After  giving  recitals 
in  New  York,  Boston,  Philadelphia  and 
Chicago,  he  located  in  New  York,  where  he  has 
since  taught  privately.  He  has  lately  revised 
and  edited  many  old  and  new  violin-works, 
composed  new  cadenzas  to  numerous  concertos 
and  made  many  transcriptions  (being  pub- 
lished by  Carl  Fischer).  Among  his  many 
successful  pupils  may  be  named  Elman,  Zim- 
balist,  Katlileen  Parlow,  Eddy  Brown,  Heifetz, 
Seidel  and  Rosen.     [  R.IO  ] 

AUERBACH,  NANNETTE,  nee  Falk 
(about  1838,  Danzig,  Germany),  came  with 
her  husband  to  Baltimore  in  1867  and  on  Jan. 
18,  1868,  appeared  as  pianist  at  a  Peabody 
Concert.  Her  striking  ability  led  to  her 
engagement  as  teacher  at  the  Peabody  Con- 
servatory in  1871,  where  she  continued  until 
1881,  highly  regarded  by  her  pupils  (among 
whom  was  Harold  Randolph,  the  present 
head  of  the  Conservatory)  and  frequently 
heard  in  public.  As  indicating  the  soUdity  of 
her  equipment,  it  is  said  that  she  had  at 
instant  command  not  only  all  the  Beethoven 
Sonatas,  but  the  whole  of  the  '  Well-Tempered 
Clavichord,'  the  latter  in  any  key.'  It  is  said 
that  she  was  still  living  in  1917.     [  R.5  ] 

'AURORA.'  An  opera  by  Ettore  Panizza, 
produced  in  1908  at  Buenos  Aires. 

AUSTIN,  Mrs.     See  Register,  3. 

AUSTIN,  JOHN  TURNELL  (b.  1869)  and 
BASIL  GEORGE  (b.  1874).  See  below  and 
Register,  7. 

AUSTIN,  T.  MERRILL.  See  Colleges,  3 
(Monmouth  C,  111.). 

AUSTIN  ORGAN  COMPANY,  THE,  of 
Hartford,  Conn.,  was  organized  in  1899  to 
make  instruments  under  the  patents  of  John 
T.  Austin  and  Basil  G.  Austin.  Chief  among 
these  is  the  'Universal  Wind-Chest,'  which  is 
described  in  Vol.  iii.  553-4  (and  see  i.  291), 
but  to  this  have  been  added  many  other  novel 
and  ingenious  mechanical  devices.  The  Com- 
pany has  an  extensive  factory,  equipped  with 
the  most  modern  appliances.  They  have  made 
about  900  organs,  including  one  five-manual 
(Medinah  Temple,  Chicago)  and  over  60  four- 
manual. 

AUTOMATIC  APPLIANCES.  The  ref- 
erence in  Vol.  i.  135-6,  to  the  development  of 
mechanical  music-making  would  need  to  be 
greatly  extended  if  completeness  of  statement 
were  here  possible.  The  number  of  devices 
that    have    been    worked    out    by   American 


120      AUTOPIANO  COMPANY 


•AZORA', 


inventors  is  not  only  large,  but  constantly 
growing.  Some  general  points  about  the 
tendency  of  invention  are  set  down  under 
Player-Piano  and  Phonograph. 

AUTOPIANO  COMPANY,  THE,  of  New 
York,  began  business  in  1904  and  was  incor- 
porated in  1905  (.capital,  $1,000,000).  It  was 
one  of  the  first  firms  to  devise  and  put  upon  the 
market  a  successful  player-piano  (as  distinct 
from  a  piano-player),  and  its  business  has  in- 
creased so  that  it  now  claims  to  have  the 
largest  factory  in  the  world  solely  devoted  to 
making  player-pianos.  This  building  is  on 
the  Hudson  River  between  51st  and  52d 
Streets.  The  firm  has  made  over  70,000 
instruments  and  ten  million  rolls. 

AVERY,  STANLEY  R.  (Dec.  14,  1879, 
Yonkers,  N.  Y.),  studied  organ  in  New  York 
with  Heinroth  and  Macfarlane,  composition 
and  orchestration  with  MacDowell  and  choir- 
training  with  Stubbs,  and  in  Berlin  he  con- 
tinued organ  with  Grunicke  and  composition 
with  Pfitzner.  In  1896-1910  he  was  organist 
at  St.  Andrew's  in  Yonkers,  and  has  since  been 
at  St.  Mark's  in  Minneapolis,  where  the  vesper 
services  are  musically  important.  He  has 
regularly  given  cantatas  and  oratorios,  and 
plans  are  being  made  for  annual  festivals  by 
the  combined  choirs  of  the  city.  He  is  presi- 
dent of  the  Civic  Music  League,  director  of 
music  at  the  Northrop  Collegiate  School, 
organist  for  the  Sunday  evening  services  at 
the  Auditorium  and  conductor  of  civic  pageants. 
His  published  works  include  a  Te  Deum  in 
E-flat  (congregational)  (Summy),  an  Evening 
Service  in  D-flat,  'Shout  the  Glad  Tidings' 
(Schirmer),  'In  Loud,  Exalted  Strain,'  'How 
Sweet  the  Name'  (Presser)  and  other  anthems, 
carols  and  choruses ;  many  songs,  such  as 
'Song  of  the  Timber-Trail'  (Ditson),  'Two 
Love-Songs'  (Schirmer),  'I  love  thee  still' 
(Presser),  etc.;  the  operetta  'The  Merry 
Mexican'    (Schirmer) ;     a   Scherzo   in   G   for 


organ  (Summy) ;  a  Scherzo  in  G  minor  for 
violin  (Ditson) ;  and  several  piano-pieces. 
He  has  also  the  one-act  opera  'The  Quartet,' 
the  comic  opera  'Katrina,'  incidental  music 
to  Josephine  Peabody's  'The  Piper,'  two 
musical  comedies,  the  overture  'The  Taming 
of  the  Shrew,'  the  orchestral  scherzo  'A  Joyous 
Prelude,'  and  one  or  two  chamber-works. 
[R.8] 

AYRES,  CECILE.     See  Horvath. 

AYRES,  EUGENE  EDMOND  (1859-1920). 
See  Register,  7. 

AYRES,  FREDERIC  (Mar.  17,  1876, 
Binghamton,  N.  Y.),  had  his  general  educa- 
tion in  Binghamton  and  at  Cornell  University. 
In  1897-1901  he  studied  composition  with 
Kelley,  but  spent  part  of  1899  with  Foote  in 
Boston.  For  some  years  he  has  made  his 
home  in  Colorado  Springs,  and  has  taught 
theory  and  composition,  lectured  and  written 
articles  on  musical  subjects.  His  composi- 
tions include  the  overture  'From  the  Plains,' 
op.  14  ;  a  string-quartet,  op.  16  ;  a  sonata  for 
violin  and  piano,  op.  15 ;  two  trios  for  piano, 
violin  and  'cello,  opp.  13  (Stahl)  and  17 ;  two 
piano-fugues,  op.  9  (Stahl),  'The  Open  Road,' 
op.  11,  'The  Voice  of  the  City,'  op.  12,  and 
'Moonlight,'  op.  12,  all  for  piano;  the  song- 
cycle  'The  Seeonee  Wolves,'  op.  10  (Schirmer) ; 
a  'Book  of  Mother  Goose  Melodies,'  op.  7 ;  and 
eongs,  opp.  2-6  (Stahl,  Schirmer).    [  R.9  ] 

'AZARA.'  An  opera  in  three  acts  by  John 
K.  Paine,  completed  about  1900,  but  not  per- 
formed except  in  concert-form  (1906).  The 
libretto,  by  the  composer,  is  based  on  the  old 
French  romance  of  Aucassin  and  Nicoletto. 
It  was  published  in  Germany  in  1906  with 
German  translation  by  Carl  Pflueger. 

'AZORA,  DAUGHTER  OF  MONTE- 
ZUMA.' A  three-act  opera  by  Henry  K. 
Hadley,  produced  by  the  Chicago  Opera  Com- 
pany on  Dec.  26,  1917,  under  the  direction 
of  the  composer. 


B 


BABCOCK,  ALPHEUS  and  LEWIS  (d. 
1817).     See  Register,  3. 

BABCOCK,  S.     See  Tune-Books,  1795. 

BACHMANN,  ALBERTO  ABRAHAM 
(b.  1875).     See  Register,  10. 

BACON,  GEORGE  (d.  1856).  See  Regis- 
ter, 3. 

BACON  PLiNO  COMPANY,  THE,  of 
New  York,  makers  of  uprights,  grands  and 
player-pianos,  have  had  a  long  history.  In 
1789  John  Jacob  Astor,  dealer  in  furs,  began 
importing  pianos  from  England,  simply  to 
make  his  trading  reciprocal.  In  1802  this 
importing  business  passed  to  John  and  Michael 
Paff  and  then  to  William  Dubois.  In  1821 
the  later  was  joined  by  Robert  Stodard  (see 
Register,  3),  and  they  began  manufactviring. 
In  1836  the  firm  was  reorganized  as  Dubois, 
Bacon  &  Chambers,  George  Bacon  having 
come  in.  In  1841  it  became  Bacon  &  Raven, 
and  in  1856  Raven  &  Bacon,  including  Francis 
Bacon,  who  was  George  Bacon's  son.  The 
present  president  is  W.  P.  H.  Bacon,  who  rep- 
resents still  another  generation. 

BAERMANN,  CARL,  Jr.  (July  9,  1839, 
Munich,  Germany  :  Jan.  17,  1913,  Newton, 
Mass.).  See  article  in  Vol.  i.  162.  He  held  the 
title  of  Royal  Professor 7rom  the  king  of  Bava- 
ria. His  work  in  Boston  from  1881  earned  him 
the  greatest  esteem.  Among  his  best-known 
pupils  are  Mrs.  Beach  and  F.  S.  Converse. 
A  series  of  twelve  piano-studies  are  pub- 
lished by  Andr6  of  Offenbach ;  other  piano- 
pieces,  including  a  suite,  are  in  manuscript. 
A  festival-march  for  orchestra  has  been  played 
in  Munich.  See  Elson,  Hist,  of  American 
Music,  pp.  287-9.     [  R.7  ] 

BAIER,  VICTOR  (b.  1861).   See  Register,  7. 

BAILEY,  ARCHIBOLD  A.  See  St.^te 
Universities  (Iowa  State  C). 

BAILEY,  DANIEL  (1725?-1799).  See 
TuNE-BooKS,  1764. 

BAILEY,  HERBERT  MEAD  (b.  1886). 
See  Colleges,  3  (Huron  C,  S.  D.). 

BAIRD,  T.  D.     See  Tune-Books,  1816. 

BAKER,  BENJAMIN  FRANKLIN  (July 
16,  1811,  Wenham,  Mass.  :  March  11,  1889, 
Boston),  succeeded  Mason  as  teacher  of 
music  in  the  Boston  public  schools  in  1841- 
47,  having  been  for  ten  years  a  singer  or  director 
in  church-choirs  in  Salem  and  Boston.  He 
was  also  active  in  'convention'  work.  He 
was  vice-president  of  the  Handel  and  Haydn 
Society  in  1841-47,  and  soloist  at  numerous 
concerts.  In  1851  he  founded  the  Boston 
Music  School,  becoming  principal  and  head  of 
the  vocal  department.  At  the  dissolution  of  this 
school  in  1868  he  retired  from  active  musical 
work.     He  wrote  three  cantatas,  'The  Storm 


King,'  'The  Burning  Ship'  and  ' Camillas,  the 
Roman  Conqueror,'  and  .other  vocal  composi- 
tions. He  compiled  several  volumes  of  glees 
and  anthems,  was  author  of  Thorough-Bass]and 
Harmony,  1870,  and  edited  the  '  Boston  Musical 
Journal.'     See  Tune-Books,  1842.     [  R.3  ] 

BAKER,  E.  H.     See  Tune-Books,  1846. 

BAKER,  THEODORE  (June  3,  1851, 
New  York),  was  educated  in  New  York  and 
in  or  near  Boston,  early  serving  as  organist  in 
Concord,  Mass.  After  a  short  business  experi- 
ence, in  1871-2  he  journeyed  across  the  conti- 
nent to  Olympia,  Wash.,  looking  for  a  suitable 
opening  for  a  career.  Not  finding  this,  in 
1874  he  went  to  Germany  for  study,  first 
under  Oscar  Paul  at  Leipzig  and  from  1878  at 
the  University  there,  receiving  the  degree  of 
Ph.D.  in  1881.  His  thesis  (title  below)  was 
based  upon  investigations  made  in  1880 
among  the  Seneca  Indians  of  New  York  State, 
when  he  v/as  initiated  into  the  tribe  and  given 
remarkable  facilities  for  observing  tribal  songs 
and  dances,  supplemented  by  further  researches 
at  the  Indian  Training  School  at  Carlisle,  Pa., 
and  extended  reading  in  the  literature  of  early 
exploration  and  settlement.  This  thesis  was  the 
first  thoroughgoing  study  of  Indian  music  and 
marked  an  epoch  in  both  matter  and  method. 
Shown  by  Gilbert  to  MacDowell  after  1890,  it 
provided  the  latter  with  suggestions  for  his 
'Indian  Suite.'  Baker  lived  in  Germany 
until  1890.  Since  1892  he  has  been  with  the 
firm  of  G.  Schirmer  in  New  York  as  literary 
editor.  Besides  putting  the  stamp  of  his 
culture  upon  thousands  of  its  publications, 
he  has  translated  many  works  of  importance 
and  edited  two  masterly  dictionaries. 

His  works  include  Ueber  die  Musik  der  nord- 
amerikanischen  Wilden,  1882,  Dictionary  of  Musical 
Terms,  1895  (18th  ed.,  1918),  Pronouncing  Pocket- 
Manual  of  Musical  Terms,  1905,  Biographical  Dic- 
tionary of  Musicians,  1900,  supplement,  1905  (3rd 
ed.  1919),  The  Musician's  Calendar  and  Birthday- 
Book,  1915-17.  Translations:  O.  Paul,  Manual  of 
Harmony,  1885,  L.  Bussler,  Elements  of  Notation  and 
Harmony,  1890,  Elementary  Harmony,  1891,  J.  C. 
Lobe,  Catechism  of  Composition,  1891,  A.  Kullak, 
The  ^Esthetics  of  Pianoforte-Playing,  1892,  S.  Jadas- 
sohn, Manual  of  Harmony,  1893,  C.  F.  Weitzmann, 
History  of  Pianoforte-Playing,  1893,  F.  Kullak, 
Beethoven's  Piano-Playing,  1901,  M.  Br6e,  The 
Groundwork  of  the  Lcschetizky  Method,  1902,  S. 
Jadassohn,  Manual  of  Sitigle,  Double  and  Quadru- 
ple Counterpoint,  1902,  G.  B.  Lamperti,  The  Tech- 
nics of  Bel  Canto,  1905,  M.  Loewengard,  Harmony 
Modernized,  1910,  F.  Busoni,  A  New  Msthetic  of 
Music,  1911,  E.  F.  Richter,  Manual  of  Harmony, 
1912,  V.  d'Indy,  Beethoven,  1913,  P.  Bona,  Com- 
plete Method  for  Rhythmical  Articulation,  O.  Klau- 
well.  On  Musical  Execution.  With  two  exceptions 
all  the  above  were  published  by  Schirmer.  Among 
translated  articles,  mention  should  be  made  of  many 
prepared  for  'The  Musical  Quarterly.'  [  R.5  ] 


121 


122 


BAKLANOV 


BALTIMORE  SYMPHONY 


BAKLANOV,  GEORGE  (b.  1882).  See 
Register,  10. 

JBALAKIREV,  MILY  ALEXEIEVITCH 
(Jan.  2, 1837,  Nishni  Novgorod,  Russia  :  May 
28,  1910,  Petrograd).  Add  to  article  in  Vol.  i. 
168-9,  that  his  last  works  include  a  second 
symphony,  in  D  minor  (1909),  and  a  piano- 
concerto.  See  Montagu-Nathan,  Hist,  of  Rus- 
sian Music,  pp.  63-73,  and  other  works  on 
Russian  music. 

BALATKA,  HANS  (1827-1899).  See  Reg- 
ister, 4. 

BALDWIN,  RALPH  LYMAN  (Mar.  27, 
1872,  Easthampton,  Mass.),  although  first 
preparing  as  organist  and  composer,  has 
also  become  a  leader  in  public-school  music, 
active  in  promoting  higher  standards  of  teach- 
ing and  musical  material  and  in  obtaining 
credit  for  music-work  in  high  schools.  He 
graduated  from  Williston  Seminary  in  1890 
and  studied  in  Boston  with  Chadwick,  Emery, 
Heindl  and  Elson.  After  being  organist  in 
Easthampton  and  Northampton,  Mass.,  in 
1904  he  became  musical  director  at  the  Fourth 
Congregational  Church  in  Hartford  and  in 
1917  moved  to  the  Immanuel  Congregational 
Church  there.  He  was  music-supervisor  in 
Northampton  in  1899-1904  and  has  since  held 
a  similar  position  in  Hartford.  He  directed 
the  Vocal  Club  of  Northampton  in  1894-1904, 
and  since  1906  the  Choral  Club  of  Hartford. 
Since  1900  he  has  been  one  of  the  proprietors 
of  the  Institute  of  Music  Pedagogy  at  North- 
ampton (summer-school),  where  he  has  trained 
a  great  number  of  supervisors.  His  organ- 
sonata,  op.  10  (Schirmer)  and  his  'Burlesca  e 
Melodia'  (Schmidt)  are  popular  on  recital- 
programs,  and  he  has  published  anthems  and 
songs  (Schmidt,  Boston  Music  Co.)  The  light 
opera  '  Wanita'  has  had  amateur  performances. 
Choruses  for  men's  voices  are  still  in  manu- 
script. For  school  use  he  has  published  Pro- 
gressive Melodies,  Progressive  Songs,  and  a 
series  of  ten  pamphlets  of  Standard  Song 
Classics  (Ginn).     [  R.8  ] 

BALDWIN,  SAMUEL  ATKINSON  (Jan. 
25,  1862,  Lake  City,  Minn.),  at  fifteen  was 
organist  of  the  House  of  Hope  Presbyterian 
Church  in  St.  Paul.  In  1884  he  graduated 
from  the  Dresden  Conservatory,  where  his 
teachers  were  Merkel  for  organ,  Wiillner  for 
composition  and  directing,  Rieschbieter  for 
harmony  and  counterpoint  and  Nicod6  for 
piano.  In  1886-89  he  was  organist  at  Plym- 
outh Church  in  Chicago.  He  was  then  in 
St.  Paul  and  Minneapolis  as  organist  and  con- 
ductor, founding  choral  societies  in  both  cities. 
Coming  to  New  York  in  1895,  he  was  organist 
at  the  Chapel  of  the  Intercession  till  1902  and 
then  at  Holy  Trinity  in  Brooklyn  till  1911.  In 
1907  he  was  appointed  to  the  new  chair  of 
music  at  the  College  of  the  City  of  New  York. 


Here  he  instituted  the  Sunday  and  Wednesday 
afternoon  organ-recitals  which  have  become 
notable.  About  700  of  these  recitals  have  been 
given,  including  toward  1000  different  works 
of  every  school  of  organ-composition.  The 
annual  attendance  has  averaged  about  70,000. 
He  is  a  founder  and  follow  of  the  A.  G.  O.  and 
was  one  of  the  ten  Americans  to  play  at  the 
Columbian  Exposition  in  Chicago  in  1893. 
He  also  gave  recitals  at  the  St.  Louis  Exposi- 
tion in  1904  and  at  San  Francisco  in  1915.  His 
published  compositions  are  songs,  anthems 
and  church-services.  His  unpublished  works 
are  mostly  in  larger  forms,  including  a  string- 
quartet  ;  a  piano-trio ;  the  18th  Psalm  and 
'The  Triumph  of  Love'  for  solo  voices, 
chorus  and  orchestra;  two  concert-overtures, 
'A  Journey  in  Norway'  and  'Frithjof  and 
Ingeborg ' ;  a  symphony  in  C  minor  ;  and  an 
orchestral  suite,  'A  Summer  Idyl.'     [  R.6  ] 

BALDWIN  COMPANY,  THE,  of  Cin- 
cinnati, organized  in  1862,  is  the  corporation 
that  controls  the  Baldwin,  Ellington,  Howard, 
Hamilton  and  Monarch  pianos.  The  Baldwin 
piano  was  awarded  the  Grand  Prix  at  the  Paris 
Exposition  of  1900  and  a  similar  prize  at  the 
St.  Louis  Exposition  in  1904.  The  Baldwin 
type  of  player-piano  is  known  as  the  '  Manualo.' 

BALLANTINE,  EDWARD  (Aug.  8,  1886, 
Oberlin,  O.),  secured  his  general  education 
at  Springfield,  Mass.,  and  at  Harvard,  where 
he  was  a  special  student  in  1903-07.  Mean- 
while he  studied  piano  with  Mary  Regal, 
Edward  Noyes  and  Mme.  Hopekirk,  and  com- 
position with  Spalding  and  Converse.  In 
1907-09  he  continued  piano  with  Schnabel  and 
Ganz  in  Berlin  and  composition  with  Riifer. 
From  1912  he  was  instructor  in  theory  at 
Harvard.  In  1918  he  enlisted  as  musician 
and  was  assigned  as  saxophone-player  to  the 
1st  Regt.  Band  at  Vancouver  Barracks,  Wash., 
with  the  rank  of  sergeant.  His  song  'Retro- 
spect' came  out  in  the  'Harvard  Musical 
Review,'  April,  1913,  and  his  piano-piece 
'Morning'  in  December,  1913.  His  Prelude  to 
'The  Delectable  Forest'  (Hagedorn)  was  first 
performed  at  the  MacDowell  Festival,  Peter- 
boro,  N.  H.,  in  1914;  the  Boston  Symphony 
Orchestra  played  his  symphonic  poem  'The 
Eve  of  Saint  Agnes'  in  January,  1917.  These 
works  are  still  in  manuscript,  as  are  more 
incidental  pieces  for  Hagedorn's  fairy-play 
for  small  orchestra  and  chorus  of  women's 
voices ;  the  tone-poem  '  The  Awakening  of 
the  Woods ' ;  an  '  Overture  to  the  Piper ' ; 
songs ;  and  pieces  for  piano,  violin  and  piano, 
and  'cello  and  piano.     [  R.IO  ] 

BALTIMORE  SYMPHONY  ORCHES- 
TRA, THE,  was  established  in  1916  by  the 
municipality  and  is  carried  on  by  it.  Its  con- 
ductor is  Gustav  Strube.  The  number  Df 
players  is  65,  and  seven  concerts  are  usually 


BALTZELL 


BARNES 


123 


given  each  year.  Its  repertory  includes 
all  standard  symphonies  and  similar  high- 
class  orchestral  works. 

BALTZELL,  WINTON  JAMES  (Dec.  18, 
1864,  Shiremanstown,  Pa.),  was  the  son  of 
Rev.  Isaiah  Baltzell  (1832-93),  who  from 
1859  edited  many  collections  of  evangelistic 
and  Sunday-school  hymns  and  tunes.  He 
was  educated  in  Harrisburg,  Pa.,  and  at  Leba- 
non Valley  College  at  Annville,  Pa.,  graduat- 
ing in  1884.  His  early  training,  in  music,  in- 
cluding elementary  harmony,  was  largely 
self-directed.  In  1886-88  he  was  proof- 
reader in  the  United  Brethren  Publishing 
House  at  Dayton,  O.,  and  studied  with  local 
teachers.  In  1888-89,  at  the  New  England  Con- 
servatory, he  came  under  Emery  (harmony), 
Elson  (theory),  Mahr  (violin)  and  Arthur 
Thayer  (singing).  He  taught  singing  and 
harmony  at  Fredericksburg  College  (Pa.), 
harmony  at  Lebanon  Valley  College,  and  in 
1889  privately  at  Lebanon,  Pa.  In  1890  he 
was  in  London,  where  Packer  and  Shakespeare 
were  his  teachers  in  singing.  Bridge  in  com- 
position and  Lowden  in  organ.  For  three 
years  he  taught  privately  at  Reading,  Pa., 
and  at  Albright  College,  Myerstown,  Pa.,  and 
pursued  composition  with  Clarke  at  the  Uni- 
versity of  Pennsylvania,  where  he  was  made 
Mus.B.  in  1896.  He  was  assistant-editor  of 
'The  Etude'  in  1897-99,  teacher  of  history 
and  theory  at  the  Ohio  Wesleyan  University, 
Delaware,  O.,  in  1899-1900;  editor  of  'The 
Etude'  in  1900-07,  editor  of  'The  Musician'  in 
1907-18,  and  since  1919  secretary  of  the 
National  Academy  of  Music  in  New  York, 
and  associate-editor  of  the  University  Course 
of  Music-Study.  He  is  author  of  A  Complete 
History  of  Music,  1905,  and  a  Biographical 
Dictionary  of  Musicians,  1910,  supplement, 
.  1914.  His  published  compositions  include 
songs,  part-songs  and  anthems.  In  manu- 
script are  works  in  large  form  for  orchestra, 
for  chamber-ensemble  and  for  chorus,     [  R.8  ] 

BANJO.  See  Vol.  i.  179-180,  and  add  ref- 
erences to  Stanley,  Catalogue  of  the  Stearns 
Collection,  p.  166-7,  and  note  in  The  Art  of 
Music,  iv.  296. 

t  BANTOCK,  GRANVILLE  (Aug.  7,  1868, 
London,  England).  See  article  in  Vol.  i.  181. 
To  the  list  of  works  add  the  tone-poems  '  The 
Pierrot  of  the  Minute'  (1908),  '  Dante  and  Bea- 
trice' (1911)  and  'The  Hebridean  Symphony' 
(1916)  ;  the  choral  symphony  'Atalanta  in 
Calydon'  (1912)  and  'The  Vanity  of  Vanities' 
(1914),  a  choral  symphony  a  cappella  ;  'Omar 
Khayyam'  (1906-07) ;  'Sea-Wanderers'  (1907); 
'Overture  to  a  Greek  Tragedy'  (1911);  the 
ballet  'The  Enchanted  Garden'  (1916);  the 
choral  suite  '  A  Pageant  of  Human  Life ' ; 
'Ferishtah's  Fancies,'  thirteen  lyrics  for  tenor 
and    orchestra;     music    to    'Elektra';    many 


choruses  for  men's,  women's  and  mixed  voices ; 
three  '  Dramatic  Dances '  for  orchestra ;  and 
'Scenes  from  the  Scottish  Highlands'  for 
orchestra.  He  is  engaged  upon  a  '  Celtic  Folk- 
Opera  '  (with  Mrs.  Kennedy  Eraser),  an  opera, 
a  'Pagan  Symphony'  and  a  Ballet.  In  an 
article  in  'The  Musical  Quarterly,'  July,  1918, 
Antcliffe  calls  him  'the  arch-experimentalist 
among  British  composers,'  and  claims  that 
he  'has  introduced  the  world  of  art,  and  par- 
ticularly of  British  art,  to  new  phases  and  new 
inspirations  over  which  he  has  planted  the 
British  flag  of  his  own  music  and  that  of  his 
disciples.'  Since  1908,  in  addition  to  his 
other  duties,  he  has  been  professor  of  music  at 
the  University  of  Birmingham.  See  Anderton, 
Granville  Bantock,  London,  1915. 

BARBOUR,  FLORENCE,  n6e  Newell 
(Aug.  4,  1867,  Providence,  R.  I.),  pursued  her 
study  of  piano  and  composition  entirely  in 
America.  She  has  made  frequent  appearances 
as  solo-pianist  and  in  ensemble.  She  has 
written  the  words  as  well  as  the  music  of  many 
of  her  songs,  and  personally  draws  and  designs 
the  cover-pages.  Among  her  published  com- 
positions for  piano  are  two  suites,  'Venice' 
and  'A  Day  in  Arcady,'  seven  'Forest- 
Sketches,'  five  'Nature-Pieces,'  six  'Melodic 
Etudes,'  and  numerous  detached  pieces.  Her 
songs  make  a  long  list.  There  are  also  anthems, 
choruses  for  women's  voices  and  a  '  Reverie '  for 
strings  and  piano.  'Child- Land  in  Song  and 
Rhythm '  is  published  in  two  books.  Her  most 
recent  works  are  'Three  Rossetti  Lyrics,'  a 
piano-suite,  'All  in  a  Garden  Fair,'  a  set  of 
piano-studies,  and  new  groups  of  songs.    [  R.8  ] 

BARFORD,  VERNON  WEST  (b.  1876). 
See  Register,  8. 

BARNABEE,  HENRY  CLAY  (1833-1917). 
See  Register,  4. 

BARNES,  EDWARD  SHIPPEN  (Sept. 
14,  1887,  Seabright,  N.  J.),  began  organ-study 
with  Van  Dyck  at  the  Lawrenceville  School, 
then  studied  composition  at  the  Yale  School 
of  Music  wath  Parker  and  organ  with  Jepson. 
After  graduating  at  Yale  in  1910  he  continued 
his  studies  under  d'Indy,  Decaux  and  Vierne 
at  the  Schola  Cantorum  in  Paris.  Since  1911 
he  has  been  organist  in  New  York,  at  first  at 
the  Chapel  of  the  Incarnation  and  from  1912 
at  the  Rutgers  Presbyterian  Church.  In 
1918-19  he  was  in  the  Naval  Reserve.  He  has 
composed  and  published  much  for  the  organ, 
piano,  and  voice,  with  two  church-cantatas  and 
many  anthems.  His  chief  works  include  an 
organ  '  Symphonic,'  op.  18  ;  two  organ-suites, 
opp.  23  and  26;  a  'Fantasia'  for  organ  and 
chorus,  op.  27;  and  the  sacred  cantatas  'The 
Comforter'  and  'Remember  now  thy  Creator.' 
He  is  author  of  Bach  for  Beginners  (Boston 
Music  Co.)  and  A  Method  of  Organ-Playing  (in 
press).     [  R.9  ] 


124 


BARNHART 


BASSETT 


BARNHART,     HARRY     HORNER     (b. 

1874).     See  Register,  9. 

BARRAJA,  ENRICO  (b.  1886) .  See  Regis- 
ter, 10. 

BARRERE,  GEORGES  (Oct.  31,  1876, 
Bordeaux,  France),  studied  flute  in  1889-95 
at  the  Paris  Conservatory  with  Alt^s  and 
Taffanel,  harmony  with  Schwarz,  Pugno  and 
Grandjany,  winning  a  first  prize  in  flute- 
playing.  From  1897  he  was  solo  flutist  at 
the  Colonne  Concerts  and  the  Opera.  He 
also  taught  at  the  Schola  Cantorum,  and  in 
1895  founded  La  Soci6te  Moderne  d'lnstru- 
ments  h,  Vent,  which  brought  out  over  100  new 
compositions.  Comiing  to  America  in  1905, 
he  joined  the  New  York  Symphony  Society 
and  became  teacher  at  the  Institute  of  Musical 
Art.  In  1910  he  founded  the  Barrfere  Ensemble 
(wind-instruments),  in  1913  the  Trio  de  Lutfece 
(flute,  harp  and  'cello)  and  in  1914  the  Little 
Symphony  (ordinarily  three  violins,  viola, 
'cello,  bass,  flute,  oboe,  clarinet,  horn,  bassoon 
and  tympani).  As  soloist  and  director 
he  has  become  well  known  throughout  the 
country  and  has  introduced  many  interest- 
ing works.  He  is  an  Oflicer  of  the  French 
Academy.  He  has  written  a '  Nocturne '  for  flute 
and  piano  and  the  song  'Chanson  d'Automne' 
(both  Schirmer)  and  has  edited  an  Arioso  by 
Bach  for  flute  and  piano  and  Altfes'  26  fitudes 
for  flute.     [  R.9  ] 

BARRERE  ENSEMBLE,  THE.  See  pre- 
ceding article. 

BARRIENTOS,  MARIA  (Mar.  10,  1885, 
Barcelona,  Spain),  graduated  from  the  Barce- 
lona Conservatory  at  twelve,  having  studied 
piano,  violin  and  composition.  She  won 
medals  for  violin-playing  when  only  eleven, 
and  composed  and  conducted  a  symphony  at 
twelve.  At  fourteen,  after  lessons  with 
Bennet,  she  made  her  debut  as  soprano  at  the 
Teatro  de  las  Novedades  in  'L'Africaine. ' 
Within  a  year  she  also  appeared  in  Milan  as 
Lakm§.  She  was  engaged  at  La  Scala,  and 
sang  at  principal  theaters  in  Italy,  Russia, 
France,  England,  Germany,  Austria  and  South 
America  till  1913.  She  then  retired  for  three 
years,  but  was  engaged  for  the  Metropolitan 
Opera  House  in  New  York,  making  her  first 
appearance  as  Lucia  in  1916,  and  has  since 
sung  there.  Her  repertoire  includes  'I  Puri- 
tani,' '  La  Sonnambula,' '  II  Barbiere  di  Siviglia,' 
'Lucia,'  'Don  Pasquale,'  'L'Elisir  d'Amore,' 
'La  Traviata,'  'Rigoletto,'  'Les  Pecheurs  de 
Paries,'  'Linda,'  'Dinorah,'  'Lakm6,'  'Mignon,' 
'Hamlet'  and  'Martha.'     [  R.IO  ] 

BARROWS,  FRANK  ELIOT.  See  Col- 
leges, 3  (Simpson  C,  Iowa). 

BARSTOW,  VERA  (b.  1893).  See  Regis- 
ter, 10. 

BARTHOLOMEW,  EDWARD  FRY  (b. 
1846).     See  Register,  8. 


BARTLETT,  HOMER  NEWTON  (Dec. 
28,  1846,  Olive,  N.  Y.  :  Apr.  3,  1920,  Hoboken, 
N.  J.),  was  descended  from  Josiah  Bartlett,  a 
signer  of  the  Declaration  of  Independence  and 
the  first  governor  of  New  Hampshire.  After 
general  training  at  the  EllenviUe  Academy 
and  under  tutors  in  New  York,  from  1861 
he  studied  piano  with  S.  B.  MiUs  and  Emil 
Guyon,  organ  and  composition  with  Max 
Braun  and  O.  F.  Jacobsen.  As  early  as  1855 
he  played  in  public  and  in  1856  began  to  com- 
pose. From  about  1860  he  was  organist  in 
New  York,  his  longest  service  being  in 
the  Madison  Avenue  Baptist  Church,  where 
he  remained  nearly  thirty-five  years.  He  was 
a  founder  of  the  A.  G.  O.  and  served  terms  as 
president  of  the  N.  A.  O.  and  vice-president 
of  the  New  York  Manuscript  Society,  be- 
sides other  posts  of  honor.  Not  long  ago  the 
Fraternity  of  American  Musicians  celebrated 
the  fiftieth  anniversary  of  his  wedding  with  a 
banquet,  and  in  1918,  when  the  Hunt  Memorial 
Hall  was  dedicated  in  EllenviUe,  N.  Y.,  a 
Bartlett  program  was  given,  with  his  violin- 
concerto  as  the  chief  item,  played  by  Miss 
Gunn  and  the  composer.  From  the  long  list 
of  liis  compositions  —  nearly  250  in  number  — 
may  be  mentioned  the  3-act  opera  '  La  Vallifere' 
(1887)  and  the  operetta  'Magic  Hours';  the 
symphonic  poem  'Apollo,'  based  upon  the 
Iliad,  the  Concerto  in  G  and  Ballade  for  violin 
and  orchestra,  the  'Legende'  for  orchestra; 
'Khamsin,'  a  concert-aria  for  tenor  and 
orchestra  (rewritten  in  1908) ;  Toccata  in  E, 
Suite  in  C,  'Festival  Hymn,'  'De  Profundis,' 
and  'Meditation  S^rieuse,'  all  for  organ; 
three  piano-ballades,  'Gavotte  Concertante,' 
'  Barcarolle '  and  some  etudes ;  besides  many 
anthems,  songs,  etc.  Several  of  his  piano-pieces 
are  based  on  Japanese  themes.  See  Hughes, 
Contemporary  American  Composers,  pp.  317-23, 
and  The  Art  of  Music,  4.  383-4.     [  R.5  ] 

BARTLETT,  JAMES  CARROLL  (b.  1850). 
See  Register,  6. 

BARTLETT,  MARO  LOOMIS  (1847- 
1919).     See   Register,  5. 

BASSETT,  FRANKLIN  (Apr.  7,  1852, 
Wheeling,  W.  Va.  :  Mar.  7,  1915,  Pasadena, 
Cal.) ,  studied  at  Leipzig  under  Reinecke,  Plaidy 
and  Jadassohn.  While  there  an  attack  of 
pianist's  neuritis  destroyed  his  hopes  of  a  con- 
cert career  and  set  him  searching  for  a  technical 
system  less  dangerous  to  the  hand  than  those 
in  use.  In  1877  he  established  himself  in 
Cleveland  and  from  1882  was  one  of  the  direc- 
tors of  the  Cleveland  Conservatory  and 
organist  of  the  First  Methodist  Church.  His 
mode  of  instruction  aroused  general  interest 
and  he  soon  had  many  brilliant  piano-pupils 
whose  devotion  to  his  personality  and  prin- 
ciples was  a  remarkable  tribute.  He  was  con- 
sidered the  first  exponent  in  Ohio  of  a  modern 


BASSFORD 


BAY  PSALM-BOOK' 


125 


system  of  piano-technique.  His  physical 
misfortune  restricted  his  concert-work  as 
pianist  to  chamber-music.  Here  also  he 
proved  a  pioneer  and,  with  the  aid  of  local 
string-players,  gave  first  performances  in 
Cleveland  of  the  quartets  and  quintets  of 
Schumann,  Brahms  and  others.  He  was  a 
founder  of  the  A.  G.  O.,  and,  besides  his  first 
position,  'was  organist  at  the  Plymouth  Con- 
gregational and  St.  Paul's  Episcopal  Churches. 
He  was  the  first  to  give  series  of  organ-recitals 
in  Cleveland.     [  R.7  ] 

BASSFORD,  WILLIAM  KIPP  (April  23, 
1839,  New  York  :  Dec.  22, 1902,  New  York), 
having  studied  under  Samuel  Jackson,  was  a 
successful  pianist  at  an  early  age  and  for  a 
time  made  extensive  concert-tours.  Dislike 
of  travel  caused  him  to  settle  in  New  York  as 
organist  and  teacher  of  many  noted  pupils. 
His  last  organ-position  was  at  Calvary  Church, 
East  Orange,  N.  J.  His  compositions  include 
the  two-act  opera  'CassUda',  a  mass  in  E-flat, 
church-music,  many  songs  and  piano-pieces 
of  the  salon  type.  He  was  engaged  by  Mme. 
Wallace  to  complete  Wallace's  unfinished 
opera  'Estrella'  (see  Vol.  v.  425).     [  R.4  ] 

BATCHELDER,  JOHN  C.  (b.  1852).  See 
Register,  6. 

JBATH,  HUBERT  (Nov.  6,  1883,  Barn- 
staple, England).  See  article  in  Vol.  v.  611. 
He  conducted  opera  for  the  Thomas  Quinlan 
Company  on  its  world-tour  in  1912-13,  and 
has  since  conducted  in  London,  where  he  has 
charge  of  the  opera-class  at  the  Guildhall  School 
of  Music  and  is  musical  adviser  to  the  Lon- 
don County  Council.  To  the  list  of  works 
add  'Two  Sea-Sketches'  (1909)  and  an  'African 
Suite'  for  orchestra  (1915);  the  cantatas  'The 
Jackdaw  of  Rheims'  (1911),  'Look  at  the  Clock' 
(1911)  and  'The  Wake  of  O'Connor'  (1914); 
and  numerous  songs  and  instrimiental  pieces. 

BATTELL,  BOBBINS  (1819-1895).  See 
Register,  4,  and  Litchfield  County  Choral 
Union. 

'BATTLE-HYMN  OF  THE  REPUBLIC, 
THE.'  The  title  of  a  poem  by  Julia  Ward 
Howe  (1819-1910),  beginning  'Mine  eyes  have 
seen  the  glory  of  the  coming  of  the  Lord,'  writ- 
ten in  1861  in  Washington  in  order  to  supply 
better  words  for  a  march-song  popular  among 
the  Union  troops.  The  music  is  supposed  to 
have  originated  in  South  Carolina  —  possibly 
a  Negro  melody.  The  original  words  began 
'Say,  brothers,  will  you  meet  us.'  See  Elson, 
Hist,  of  American  Music,  pp.  156-61. 

BAUER,  A.  O.  See  Colleges,  2  (Win- 
throp  C,  S.  C). 

BAUER,  HAROLD  (Apr.  28,  1873,  New 
Maiden,  near  London,  England),  began  his 
career  as  a  violinist.  He  studied  with  Pollitzer, 
at  nine  played  in  public,  and  for  several  years 
gave  concerts  with  his  two  sisters.     In  1892 


he  gave  up  the  violin  for  the  piano.  He  had 
some  lessons  from  Paderewski,  but  is  largely 
self-taught.  He  made  his  debut  as  pianist 
in  Paris  in  1893  and  a  tour  of  Russia  followed. 
He  has  given  recitals  and  played  with  orches- 
tras in  the  leading  cities  of  Europe,  includ- 
ing Spain  and  Sweden,  and  in  South  America, 
and  has  made  many  tours  in  the  United  States. 
His  first  appearance  in  the  latter  was  with  the 
Boston  Symphony  Orchestra  on  Dec.  1,  1900, 
playing  Brahms'  Concerto  in  D  minor.  He  is 
distinguished  as  an  ensemble-player,  and  has 
participated  with  the  leading  organizations 
and  soloists  in  innumerable  performances  of 
classic  and  modern  music.  As  soloist  his 
repertoire  is  almost  unlimited.  His  unhack- 
neyed programs  present  the  entire  range  of 
piano-music,  and  he  plays  works  for  the  harp- 
sichord with  the  same  enjoyment  and  success 
as  works  by  the  most  modern  composers.  He 
has  been  especially  active  in  the  presentation 
of  Brahms,  Schumann  and  Franck.  Some  of 
his  views  on  piano-playing  and  music  are 
set  forth  in  the  Introduction  he  contributed 
to  The  Art  of  Music,  Vol.  vii.  As  teacher  he 
has  influenced  many  players  of  the  younger 
generation,  and  in  recent  years  he  has  edited 
and  revised  some  valuable  piano-music.  He 
was  the  prime  mover  in  organizing  the  Bee- 
thoven Association,  which  began  its  perform- 
ances of  rarely-given  chamber-music  by 
Beethoven  in  the  fall  of  1919  at  .^Eolian  Hall 
in  New  York.  The  distinguished  artists  who 
assist  in  these  programs  contribute  their  serv- 
ices, and  the  proceeds  are  to  be  devoted  at 
first  to  the  publishing  of  Krehbiel's  translation 
of  Thayer's  Beethoven  and  later  to  the  relief 
of  needy  musicians.     [  R.9  ] 

BAUR,  CLARA  (d.  1912).     See  Register,  5. 

tBAX,  ARNOLD  E.  TREVOR  (Nov.  8, 
1883,  London,  England.)  See  article  in  Vol. 
V.  612.  To  the  list  of  works  add  the  sym- 
phonic poems  'Into  the  Twilight'  (1908),  'In 
the  Fairy  Hills'  (1909)  and  'Christmas  Eve 
on  the  Mountains'  (1911)  ;  'Three  Pieces'  for 
orchestra  (1912)  ;  the  choruses  with  orchestra 
'Fatherland'  (1907)  and  'The  Enchanted  Sum- 
mer' (1909) ;  the  two-act  ballet  'King  Kojata' 
(1911);  the  'Festival  Overture'  (1909);  two 
string-quartets,  a  piano-trio  and  a  sonata  for 
violin  and  piano ;   piano-pieces  and  songs. 

'BAY  PSALM-BOOK,  THE.'  The  com- 
mon name  for  the  metrical  version  of  the 
Psalms  prepared  by  Revs.  Mather,  Weld  and 
Eliot  for  the  churches  of  the  colony  of  Mas- 
sachusetts Bay  and  published  in  1640,  being 
the  first  book  (in  the  proper  sense)  printed  in 
the  colonies.  It  had  extensive  use  not  only 
in  America,  but  in  England,  and  passed 
through  numerous  editions  (27th  in  1762). 
Of  the  first  edition  only  eight  copies  are 
known,  but  it  has  been  reprinted  in  facsimile 


126 


BEACH 


BEACH 


(1862).  Not  until  the  9th  edition,  1698.  was 
music  added  and  then  only  12-14  tunes. 
See  Tune-Books  and  numerous  books  upon 
the  history  of  hymnody.  Elson,  Hist,  of 
American  Music,  pp.  6-7,  gives  three  pages 
in  facsimile,  and  Fisher,  Old  Music  in  Boston, 
p.  4,  reproduces  two  tunes. 

BEACH,  AMY  MARCY,  nee  Cheney  (Sept. 
5,  1867,  Henniker,  N.  H.).  See  article  in  Vol. 
i.  210.  She  has  been  an  active  concert-pianist 
since  1885,  appearing  with  the  Boston  Sym- 
phony Orchestra  and  other  orchestras,  as  well 
as  with  the  Kneisel  Quartet  and  similar  or- 
ganizations. In  1888,  playing  with  the  Boston 
Orchestra,  she  added  an  original  cadenza  to 
Beethoven's  C  minor  Concerto.  Her  first 
compositions  were  a  group  of  songs  in  1884. 
Her  first  work  in  large  form  was  the  Mass  in 
E-flat,  given  by  the  Handel  and  Haydn  So- 
ciety in  1892.  Her  Scena  and  Aria  from 
Schiller's  'Maria  Stuart'  was  first  sung  by 
Mrs.  Alv6s  with  the  New  York  Symphony 
Society  in  1892.  In  1893  she  was  asked  to 
provide  a  Festival  Jubilate  for  the  opening 
of  the  Columbian  Exposition  at  Chicago ;  in 
1898  also  a  'Song  of  Welcome'  for  the  Trans- 
Mississippi  Exposition  at  Omaha;  and  in  1915 
a  'Panama  Hymn'  for  the  Panama-Pacific 
Exposition  at  San  Francisco.  Her  'Gaelic' 
Symphony  was  first  given  from  manuscript  by 
the  Boston  Orchestra  in  1896,  and  has  become 
frequent  on  the  programs  of  other  orchestras. 
Her  Concerto  in  C-sharp  minor  she  brought 
out  in  1900  with  the  Boston  Orchestra,  and 
she  has  since  played  it  often  both  in  America 
and  abroad.  After  the  death  of  her  husband 
in  1910  she  spent  foiu:  years  in  Europe,  where 
she  was  heard  in  many  cities,  notably  Rome, 
Munich,  Dresden,  Hamburg,  Leipzig  and 
Berlin.  Her  'Gaelic'  Symphony  was  per- 
formed in  Hamburg  and  Leipzig,  and  her 
piano-quintet  and  violin-sonata  also  won 
recognition.  In  recent  years  her  songs, 
church-music  and  piano-works  have  received 
favorable  attention.  The  full  list  of  her 
works  is  as  follows  : 


Piano  — 
op.   3 


Cadenza  for  Beethoven's  C  minor  Con- 
certo. 
4  Valse-Caprice. 
6   Ballade  in  D-flat. 

16  Four  Sketches  —  *In  Autumn,'  'Phan- 
toms,' 'Dreaming,'  'Fireflies.' 

22    Bal  Masque  ;  Waltz. 

25  Children's  Carnival  —  'Promenade,' 
'Columbine,'  'Pantalon,'  'Pierrot  and 
Pierrette,'  'Secrets,'  'Harlequin.' 

28  'Barcarolle,'  'Menuet  Italien,'  'Danse 
des  Fleura.' 

36  Children's  Album  —  Minuet,  Gavotte, 
Waltz,  March,  Polka. 

—  Transcription  of  Richard  Strauss'  'Ser- 
enade.' 

54   'Scottish  Legend,'  'Gavotte  Fantastique.' 

60   Variations  on  Balkan  Themes. 


op.  64  EskimoPiecea—'ArcticNight," Returning 
Winter,'  'Exiles,'  'With  Dog-Teams.' 
65   Suite  Frangaise,  'Les  Reves  de  Colum- 
bine'—  'La  FSe  de  la  Fontaine,'  'Le 
Prince   Graoieux,'   'Valse  Amoureuse, 
'Sous  les  Etoiles,'  'Danse  d'Arlequin.'  ' 
81    Prelude  and  Fugue. 
47    Six  Duets,  'Summer  Dreams.' 
45   Concerto    in    C-sharp    minor,    with    or- 
chestra. 
67    Quintet  in   F-sharp  minor,   with  string- 
quartet. 
Violin  — 

op.  23    Romance. 

34   Sonata  in  A  minor. 

40   'La  Captive'  (G-string),  'Berceuse," Ma- 
zurka.' 
Invocation. 


55 
Orchestra  — 

op.  23   'Gaelic'  Symphony  in  E  minor. 
Songs  — 

op.    1 


'With    Violets,'    'The    Four    Brothers,' 
'Jeune  Fille  et  Jeune  Fleur,'  'Ariette.' 
2   'Twilight,'  'When  Far  from  Her,'   'Em- 
press of  Night.' 

11  'Dark  is  the  Night,'  'The  Western  Wind,' 

'The  Blackbird.' 

12  'Wilt   thou  be  my   dearie?'    'Ye   banks 

and  braes  of  bonnie  Doon,'  'My  luve 
is  like  a  red,  red  rose.' 

13  'A  Hymn  of  Trust.' 

14  'The     Summer     Wind,'     'The     Secret,' 

'Sweetheart,    sigh     no     more,'     'The 
Thrush." 

18  Scena    and    Aria,    'Wandering    Clouds,' 

from  Schiller's  'Maria  Stuart.' 

19  'For     me     the     jasmine-buds     unfold,' 

'Ecstasy,'  'Golden  Gates.' 

20  Villanelle,  'Across  the  World.' 

21  'Chanson  d'Amour,'   'Exstase,'   'EUe  et 

Moi.' 
26   'My    Star,'    'Just    for  This,'    'Spring,' 

'Wouldn't  that  be  queer?' 
29    'Within    my    Heart,'    'The    Wandering 

Knight,'       'Sleep,       Little       Darling,' 

'Haste,  O  Beloved.' 
35    'Night,'   'Alone,'   'With  Thee,'   'Forget- 
me-not.' 
37   Shakespeare  Songs  —  '  O  Mistress  Mine,' 

'Take,     O     take     those     lips     away,' 

'Fairy  Lullaby.' 
41    'Anita,'  'Thy  Beauty,'  'Forgotten.' 

43  Burns  Songs  —  'Dearie,'    'Scottish  Cra- 

dle-Song,' 'O  were  my  love   yon  lilac 
fair,'  'Far  Awa','  'My  Lassie.' 

44  Browning    Songs  —  'The    year's    at   the 

spring,'    'Ah,    love,    but    a    day,'    'I 

send  my  heart  up  to  thee.' 
48   'Come,      ah,     come,'      'Good-Morning,' 

'Good-Night,'  'Canzonetta.' 
51    'Silent  Love,'  'We  Three,'  'June,'  'For 

my  Love.' 
53   Aria,  'Jephtha's  Daughter.' 
56   'Autumn-Song,'      'Go      not      too     far,' 

'I  know  not  how  to  find  the  spring,' 

'Shena  Van.' 
62   'When  soul  is  joined  to  soul.' 

68  'After.' 

69  Mother-Songs  —  'Baby,'    'Hush,     baby 

dear.' 

71  'A    Prelude,'    'O    Sweet    Content,'    'An 

Old  Love-Story.' 

72  'An  Old  Prayer,'  'Flowers  and  Fate.' 

73  'With  Granny,'  'The  Children's  Thanks,' 

'Separation,'  'The  Lotos-Isles.' 


MRS.  H.  H.  A.  BEACH 


BEACH 


BECK 


127 


op.  75  Children's  Songs  —  'The  Candy-Lion,' 
'A  Thanksgiving  Fable,'  'DoUadine,' 
'The  Prayer  of  a  Tired  Child.' 

77  'I,'  'Wind  o'  the  Westland.' 

79  'Meadow-Larks,'      'A      Night-Song     at 

Amalfi,'  'In  Blossom-Time.' 
10   Duets  —  'A  Canadian  Boat-Song,'  'The 

Night  Sea,'  'Sea-Songs.' 
61    Duet,  'Give  me  not  love.' 
Part-Songs  — 
Men's  voices : 

op.  19   'Ecstasy.' 
Women's  Voices : 

op.    9   'Little  Brown  Bee.' 
31    Flower-Songs  —  'Over    hill,   over    dale,' 
'Come     unto     these     yellow     sands,' 
'Through  the  house  give   glimmering 
light.' 
57    'Only  a  Song,'  'One  Summer  Day.' 

—  'An  Indian  Lullaby.' 
82    'Dusk  in  J\ine.' 

Mixed  Voices  : 

op.  42   'A  Song  of  Welcome.' 

49  'A  Song  of  Liberty.' 

52   'A  Hymn  of   Freedom'    ('My     country, 

'tis  of  thee'). 
74   'Panama  Hymn.' 
Anthems  — 
op.    7    '  Praise  the  Lord,  all  ye  nations.' 

8    '  Nunc  Dimittis,' '  Peace  I  leave  with  you,' 
'With  Prayer  and  Supplication.' 
24    '  Bethlehem  '  (Christmas) . 
27   'Alleluia!  Christ  is  risen  '  (Easter). 
33   'Teach  me  Thy  way.' 
38   'Peace  on  Earth'  (Christmas). 

50  Motet  a  cappella,  '  Help  us,  O  God.' 
63   Service  in  A. 

74    '  All   hail   the    power    of    Jesus'    name ' 

(Panama  Hymn  arranged). 
76    'Thou  knowest,  Lord.' 

78  Four  Canticles. 
Concerted  Works  — 

op.    5    Mass  in  E-flat. 

16  'The    Minstrel    and    the    King'    (men's 

voices) . 

17  Festival  Jubilate. 

30   'The     Rose     of     Avontown'     (women's 

voices) . 
46   Wedding  Cantata,  'Sylvania.' 
69    'The  Sea-Fairies'  (women's  voices). 
66    'The     Chambered     Nautilus'     (women's 
voices) . 
In  Manuscript  — 

op.  70    Suite  for  two  pianos,  'Iverniana.' 

80  Variations  for  flute  with  string-quartet. 

—  Tyrolean  VaLse-Fantaisie. 

See  Goetschius,  Mrs.  H.H.  A.  Beach,  1906, 

Hughes,  Contemporary  American  Composers, 
pp.  425-32,  and  Elson,  Hist,  of  American 
Music,  pp.  294-305.     [  R.7  ] 

BEACH,  JOHN  PARSONS  (Oct.  11,  1877, 
Gloversville,  N.  Y.),  is  a  graduate  of  the  New 
England  Conservatory  in  Boston  and  a  pupil 
of  Johns,  Chadwick,  and  Loeffler.  He  went 
to  the  Northwestern  Conservatory  in  Minne- 
apolis in  1900  as  teacher  of  piano,  and  also  taught 
in  the  University  of  Minnesota.  In  1904-07 
he  was  teaching  in  New  Orleans,  and  then 
returned  to  Boston  for  three  years.  In  1910 
he  went  to  Paris,  studying  composition  with 
Gedalge  and  piano  with  Bauer.     For  several 


years  he  has  spent  the  summers  at  Asolo,  Italy, 
and  diu-ing  the  war  was  engaged  in  activities 
on  the  Italian  front.  His  published  works 
include,  for  piano,  an  Intermezzo,  a  Rhapsody, 
'New  Orleans  Miniatures,'  'A  Garden  Fancy' 
and  'Monologue' ;  and  the  songs,  'A  Woman's 
Last  Word,'  'Autumn  Song,'  "Twas  in  a  world 
of  living  leaves,'  'A  Song  of  the  Lilac,'  'The 
Kings,'  'In  a  Gondola,'  'Take,  O  take  those 
lips  away,'  etc.  Unpublished  are  'The 
Asolani,'  three  pieces  for  string-quartet,  wood- 
quartet  and  harp;  'Naive  Landscapes,'  four 
pieces  for  piano,  flute,  oboe  and  clarinet ;  and 
'Pippa's  Holiday,'  a  theater-scene  for  soprano 
and  orchestra,  from  the  Introduction  to 
Browning's  'Pippa  Passes'  (1915-16,  Theatre 
R6jane,  Paris)  and  '  Jornida  and  Jornidel,'  a 
short  opera  in  two  scenes  from  Grimm's  fairy- 
tale.    [  R.8  1 

BEALE,  FREDERIC  FLEMING  (b.  1876). 
See  State  UNrvERSiTiES  (Ida.,  Wash.). 

BEATON,  ISABELLA  (May  20,  1870, 
Grinnell,  la.),  having  graduated  from  the  Iowa 
Conservatory  at  Grinnell  in  1890,  in  1894-99 
was  in  Berlin,  studying  piano  and  composition 
with  Moszkowski  and  composition  with  Boise. 
In  1898  she  won  a  teacher's  certificate  in 
singing,  declamation  and  Italian  from  the 
Ziska  School  of  Opera  and  Oratorio  in  Paris. 
In  1899-1910  she  taught  piano,  history  and 
composition  in  the  Cleveland  School  of  Music, 
meanwhile  talcing  courses  in  languages, 
history  and  acoustics  at  Western  Reserve 
University,  leading  to  the  degrees  of  Ph.B. 
and  M.A.  In  1910  she  established  the  Beaton 
School  of  Music,  and  for  five  seasons  played 
a  recital-course  of  twenty  programs.  Her 
compositions  include  a  Scherzo  for  orchestra 
(Schneekliid,  Paris),  played  under  Paur,  Van 
der  Stucken  and  others ;  a  string-quartet  in 
A  minor  (Schneekliid)  ;  a  string-quartet  in 
C ;  ten  fugues  for  piano ;  a  setting  of  Keats' 
'  Eve  of  St.  Agnes  ' ;  an  Ave  Maria  for  con- 
tralto and  orchestra;  a  piano-sonata  in  G 
minor;  piano-pieces  and  songs.     [  R.8  ] 

BECK,  JOHANN  HEINRICH  (Sept.  12, 
1856,  Cleveland,  O.),  after  a  general  education 
in  Cleveland,  studied  in  Leipzig  in  1879-82 
under  Schradieck  and  Hermann  (violin),  A. 
Richter  (theory),  Paul  (history),  Reinecke  and 
Jadassohn  (composition).  His  debut  as  vio- 
linist was  at  the  Gewandhaus  in  May,  1882. 
On  his  return  to  Cleveland  he  organized  the 
Schubert  String  Quartet.  In  1889-90  he  was 
conductor  of  the  Detroit  Symphony  Orchestra, 
and  in  1901-1912  directed  orchestral  concerts 
in  Cleveland.  He  has  also  conducted  the 
Pilgrim  Orchestral  Club  (1904-10),  the 
Elyria  Orchestra  (1905-07),  and  has  made 
many  appearances  as  guest-conductor  of  his 
own  compositions.  The  latter  include  the 
overtures     to     'Romeo    and    Juliet,'    'Lara' 


128 


BECKEL 


BEHNING  PIANO  COMPANY 


(1886,  Boston  Symphony  Orchestra)  and 
'Skirnismal'  (1887,  Thomas  Orchestra,  Chi- 
cago) ;  a  string-sextet  (1888,  Indianapolis) ; 
a  'Moorish  Serenade'  for  orchestra  (1889, 
Philadelphia) ;  a  Scherzo  in  A  (1890,  Thomas 
Orchestra,  Detroit);  'A  Kiss  of  Joy'  (1900, 
Cleveland  Orchestra,  and  1904,  St.  Louis 
Exposition) ;  'Aus  meinem  Leben,'  a  tone- 
poem  for  orchestra ;  ' The  Sea  at  Evening'  and 
'Wie  schon  bist  du,'  for  voice  and  orchestra; 
the  cantata  'Deukalion';  a  Scherzo  in  F 
(1896,  Thomas  Orchestra,  Cleveland)  ;  a 
string-sextet  in  D  minor ;  and  a  string-quartet 
in  C  minor.  See  Hughes,  Contemporary  Amer- 
ican Composers,  pp.  406-11.     [  R.7  ] 

BECKEL,  JAMES  COX  (1811-  ?  ).  See 
Register,  3. 

BECKER,  REN:^  LOUIS  (Nov.  7,  1882, 
Bischheim,  Alsace),  studied  organ  with  Adolph 
Gessner,  piano  with  Fritz  Blumer  and  com- 
position with  Carl  Somborn.  He  came  to 
America  in  1904  and  settled  in  St.  Louis, 
where  he  soon  won  distinction  in  recital-work 
and  composition,  and  as  organist.  He  is  now 
organist  at  St.  Peter  and  St.  Paul's  Cathedral 
in  Alton,  111.  His  organ-sonatas,  especially 
op.  40,  and  the  Cantilfene  in  E-flat,  rank  high 
and  are  frequently  heard  at  recitals,  while 
some  of  his  choral  pieces  have  place  on  im- 
portant church-music  programs.  His  princi- 
pal published  works  include  the  following : 

Piano  — 

op.  15   Five  Miniatures. 
19   Valse  in  A-flat. 
22   Gavotte  and  Toccatella. 

10  Melodious  Studies  and  'Scenes  from 
Childhood.' 
24    'Carnival  Sketches.' 

'A  String  of  Merry  Strains.' 
Six  Children's  Dances. 
Organ  — 
op.    1    'Marche  Nuptiale,'  'Marche  Pontificale,' 
'Marche     Triomphale,'      'Chant    des 
Seraphim.' 
'Lullaby,'     'Summer    Idyll,'     'R6verie,' 
'Meditation,' ' Canzonetta.' 
31    Toccata  in  D. 
40,  42,  43    Three  Sonatas. 
41    Cantilena. 

'L6gende,'  'Chanson  Matinale,'  'Chanson 

du  Soir,'  'Cantiltoe'  in  E-flat. 
'Chanson  sans  Paroles.' 
Church-Music  — 

Mass  in  honor  of  St.  Barbara. 
Mass  'Salvator  Noster.' 

Mass  in  honor  of  St.  Catherine  (women's  voices). 
'Terra  Tremuit'  (Easter  offertory). 
'Lsetentur  Coeli'  (Christmas  offertory). 
'Tui  sunt  Coeli'  (Christmas  offertory). 
In  Manuscript  — 

Organ-Suite  in  B-flat. 

Organ-Sonatas  in  E-flat  and  B  minor. 

Organ-Variations  in  C  minor. 

Several  Masses  and  other  church-music.    [  R.9  ] 

BEEBE,  CAROLYN.    See  Register,  9. 
JBEECHAM,  THOMAS  (April   29.    1879, 
Liverpool,  England),  was  educated  at  Rossall 


School,  Fleetwood,  where  he  had  lessons  in 
harmony  from  Sweeting,  followed  by  some 
study  with  Roberts  at  Oxford.  In  1899  he 
organized  an  amateur  orchestra  at  Huyton, 
a  suburb  of  Liverpool,  and  soon  displayed 
talent  as  conductor.  In  1902  he  was  con- 
ductor with  Kelson  Truman's  traveling  opera- 
company,  and  the  next  year  worked  upon  three 
operas  (unpublished).  His  first  important 
appearance  as  conductor  in  London  was  in 
1905.  The  next  year  he  founded  the  New 
Symphony  Orchestra,  from  which  he  resigned 
in  1908  and  organized  the  Beecham  Sym- 
phony Orchestra.  In  1910  he  leased  Covent 
Garden,  and  began  a  series  of  operatic  per- 
formances which  rapidly  gained  in  popularity. 
Delius'  'Romeo  and  Juliet  in  the  Village,' 
Smythe's  '  The  Wreckers '  and  Strauss  ' '  Elek- 
tra'  were  early  presented.  Stanford's  '  Shamus 
O'Brien'  and  'The  Critic,'  Holbrooke's 
'Dylan,'  Liza  Lehmann'a  'Everyman,'  and 
many  other  novelties  were  produced  later.  In 
1915  he  became  conductor  of  the  Philharmonio 
Society.  His  success  in  conducting  both  opera 
and  symphony  has  made  him  conspicuous  in 
English  music.  He  was  knighted  in  1916.  See 
'Musical  Times,'  October,  1910. 

BEEL,  SIGMUND  (b.''  1863).  See  Reg- 
ister, 6. 

BEETHOVEN  CONSERVATORY,  THE, 
St.  Louis,  was  founded  in  1871  by  a  group  of 
public-spirited  citizens.  In  1872  it  passed 
into  the  control  of  August  Waldauer,  the 
violinist,  and  Hermann  Lavitsky  (d.  1874). 
The  former  long  remained  at  its  head  and 
developed  it  into  efficiency.  Since  1902  the 
directors  have  been  the  brothers  Epstein. 

BEETHOVEN  QUARTET  (or  QUINTET) 
CLUB,  THE,  of  Boston,  was  organized  in  1873 
by  Charles  N.  Allen,  the  violinist,  and  Wulf 
Fries,  the  'cellist,  at  first  with  Gustave  Dann- 
reuther  and  H.  Heindl.  For  more  than 
twenty  years  it  continued  under  some  similar 
name  and  with  changing  personnel,  exemplify- 
ing a  worthy  standard  of  ensemble-playing. 

BEETHOVEN  SOCIETY,  THE,  of  Chi- 
cago, organized  in  1873,  was  the  first  im- 
portant choral  society  (mixed  voices)  in 
that  city  after  the  Apollo  Club  (male  voices). 
Its  conductor  was  Carl  Wolfsohn,  the  pianist, 
who  was  drawn  from  Philadelphia  for  the  pur- 
pose. Among  the  works  introduced  were 
Beethoven's  Mass  in  C  and  Choral  Fantasia, 
Bruch's  'Odysseus,'  Hofmann's  'Fair  Melu- 
sina,'  etc.  In  1884  it  ceased  to  exist,  being 
overshadowed  by  later  enterprises. 

BEHNING  PIANO  COMPANY,  THE,  of 
New  York,  was  founded  in  1861  by  Henry 
Behning,  a  German  piano-maker  who  had 
had  fine  training,  and  since  his  death  has  been 
carried  on  successfully  by  his  two  sons.  Its 
total  output  has  been  over  50,000  instruments. 


BEHR  BROTHERS  PIANO  CO. 


BENHAM 


129 


BEHR  BROTHERS  PIANO  COMPANY, 
THE,  of  New  York,  was  founded  in  1881  by 
Henry  and  Edward  Behr.  William  J.  Behr, 
the  son  of  the  former,  is  now  its  president. 
Their  pianos  have  won  high  awards  at  the 
Expositions  at  New  Orleans  in  1885,  at  Mel- 
bourne in  1889  and  at  Chicago  in  1893.  The 
total  number  made  is  over  50,000. 

BEHRENT,  JOHN.     See  Register,  1. 

BEISSEL,  JOHANN  CONRAD  (1690- 
1768).     See  Register,  1. 

BELCHER,  SUPPLY  (1751-1836).  See 
Tune-Books,  1794. 

BELKNAP,  DANIEL  (1771-1815).  See 
Tune-Books,  1797. 

JBELL,  WILLIAM  HENRY  (Aug.  20, 
1873,  St.  Alban's,  England).  See  article  in 
Vol.  V.  612-63.  Since  1912  he  has  been  prin- 
cipal of  the  South  African  College  of  Music  in 
Cape  Town.  His  recent  larger  works  are  a  set 
of  Symphonic  Variations  in  G  (1917,  Cai>e 
Town  Orchestra),  a  2nd  Symphony, inA  (1918, 
ibid.),  and  a  3rd  Symphony,  in  F,  written  in 
1918-19.  See  'Musical  Times,'  May-July, 
1920. 

BELLAMANN,  HEINRICH  HAUER  (Apr. 
28,  1882,  Fulton,  Mo.),  secured  his  general 
education  at  Westminster  College  in  Missouri 
and  the  University  of  Denver.  He  then  went 
to  Paris,  studying  piano  with  Philipp  and 
organ  and  composition  with  Widor.  Since 
1907  he  has  been  director  of  the  School  of  Fine 
Arts  in  Chicora  College  for  Women  at  Colum- 
bia, S.  C.  He  has  interested  himself  in  the 
advancement  of  modern  French  music  in  the 
South,  and  has  presented  for  the  first  time  in 
America  many  of  the  more  important  works  by 
d'Indy,  Widor,  Debussy,  Magnard,  Labey, 
Roussel,  de  SevSrac,  de  Br6ville,  Chausson 
and  others.  He  is  an  authorized  represen- 
tative of  Philipp's  method.  His  compositions 
include  a  piano-concerto,  a  violin-sonata,  a 
piano-sonata,  a  piano-quintet  and  choral 
works.  He  has  also  written  numerous  maga- 
zine articles.  In  1907  he  was  made  Mus.  D. 
by  Grayson  College  (Tex.).  His  wife  is  an 
accomplished  singer  and  since  1907  has  also 
taught  at  Chicora  College.  He  comes  of  a  dis- 
tinguished line  of  German  musicians.     [  R.9  ] 

BELTZ,  OLIVER  S.  See  Colleges,  3  (Un- 
ion C,  Neb.) 

BENBOW,  WILLIAM  (b.  1865).  See  Reg- 
ister, 6. 

BENDIX,  MAX  (Mar.  28,  1866,  Detroit, 
Mich.),  having  appeared  in  public  as  violinist 
at  eight,  before  he  was  twenty  gained  or- 
chestral experience  under  conductors  like 
Thomas,  Van  der  Stucken  and  Seidl.  His 
training  as  soloist  was  chiefly  with  Jacobsohn. 
In  1886  he  was  concertmaster  at  the  Metro- 
politan Opera  House  and  also  concertmaster 
and   assistant-conductor  of   the   Thomas  Or- 


chestra, remaining  with  the  latter  ten  years, 
during  which  he  was  assistant  and  successor 
to  Thomas  at  the  Columbian  Exposition  at 
Chicago  in  1893.  Concertizing  alone  or  with 
the  Bendix  Quartet  occupied  the  years  1897- 
1903.  He  conducted  the  orchestra  at  the 
World's  Fair  at  St.  Louis  in  1904.  The  next 
season  he  was  concertmaster  for  the  Wagnerian 
performances  at  the  Metropolitan  Opera 
House  in  New  York.  He  was  concertmaster 
and  conductor  at  the  Manhattan  Opera 
House  there  in  1906 ;  concertized  in  this 
country  and  in  Europe  for  two  years ;  and 
conducted  again  at  the  Metropolitan  in 
1909-10.  Then  came  four  years  as  conductor 
of  light  opera.  In  1915  he  was  conductor  of 
the  Exposition  Orchestra  at  the  Panama- 
Pacific  Exposition  at  San  Francisco.  Since 
then  he  has  devoted  himself  to  teaching  in 
New  York.  His  compositions  include  a  violin- 
concerto;  'Pavlowa,'  a  valse-caprice  for  or- 
chestra ;  a  theme  and  variations  for  'cello  and 
orchestra;  'The  Sisters,'  a  ballad  for  soprano 
and  orchestra ;  music  for  the  play  '  Experi- 
ence' ;  and  a  number  of  songs.     [  R.7  ] 

BENDIX,  OTTO  (1845-1904).  See  Regis- 
ter, 7. 

BENEDICTIS,  SAVINO  DI  (Jan.  20,  1883, 
Sao  Paulo,  Brazil),  having  been  for  some 
years  a  specialist  in  theory,  is  now  professor 
of  harmony  and  composition  in  the  Con- 
servatorio  Drammatico  e  Mtisical  at  Sao 
Pavilo.  His  compositions  include  a  foiu:- 
movement  suite  for  orchestra,  'Mariage  de 
Pierrot  et  Pierrette';  'Tramonto,'  an  'essai 
lyrique' ;  and  a  number  of  graceful  pieces  for 
piano.  He  has  written  a  Traite  d' Harmonie, 
2  vols.,  and  a  Theorie  Musicale.     [  R.9  ] 

BENHAM,  ASAHEL.  See  Tune-Bookb, 
1790. 

BENHAM,  VICTOR  (Apr.  12,  1871, 
Brooklyn,  N.  Y.),  in  1877  appeared  in  public 
as  singer  and  in  1880  as  pianist  with  the 
Thomas  Orchestra  in  New  York.  He  tom-ed 
as  a  child-pianist  with  Patti,  Gerster,  Wilhelmj 
and  other  artists.  In  1882  he  was  first  heard 
in  London,  playing  at  the  Crystal  Palace 
concerts  under  Manns  and  on  Monday  Popular 
Concert  programs  with  Joachim,  Piatti  and 
others.  By  this  time  he  had  composed  in 
various  forms.  In  1885  he  played  a  Fantaisie 
for  piano  and  orchestra  at  the  Lamoureux 
Concerts  in  Paris.  There  he  studied  at  the 
Conservatory  under  Marmontel,  receiving  a 
first  prize  in  1886.  After  European  tours  he 
returned  to  America,  where  he  spent  the  years 
1890-1900.  During  1900-04  he  was  again  in 
London,  and  then  for  eight  years  in  Detroit, 
teaching,  composing  and  lecturing  on  various 
art-subjects.  In  1912  he  returned  to  Europe, 
playing  in  Germany,  Austria,  Hungary,  Italy, 
France  and  England.     Since  1914  he  has  lived 


130 


BENJAMIN 


BERKSHIRE   FESTIVALS 


in  England,  active  as  teacher  and  critic.  His 
compositions  include  two  symphonies,  two 
piano-concertos,  a  violin-concerto,  five  string- 
quartets,  a  piano-quintet,  many  piano-pieces 
and  songs.     [  R.7  ] 

BENJAMIN,  JONATHAN.  See  Tune- 
Books,  1799. 

BENSON,  HARRY  (b.  1848).  See  Regis- 
ter, 6. 

BENSON,  LOUIS  FITZGERALD  (b. 
1855).     See' Register,  8. 

BENTLEY,   JOHN.     See  Register,  2. 

BENTLEY,  WILLIAM  FREDERICK 
(Sept.  12,  1859,  Lenox,  O.),  has  been  largely 
identified  with  Knox  College  in  Illinois. 
Graduating  from  Oberlin  Conservatory  in 
1883,  he  studied  piano  with  Sherwood  and 
Perry  in  America  and  with  Zwintscher  and 
KuUak  in  Germany,  and  voice  with  Delle 
Sedie  and  Escalais  in  Paris  and  Randegger  in 
London.  In  1883-85  he  was  music-director 
in  the  Institute  at  South  New  Lyme,  O. 
Since  1885  he  has  been  director  of  the  Knox 
Conservatory  in  Galesburg,  111.,  teacher  of 
voice  there  since  1898  and  conductor  of  the 
Galesburg  Musical  Union  since  1899.  He  is 
also  conductor  of  the  Choral  Union  at 
Kewanee,  111.  Two  of  his  songs  are  published 
and  about  twenty-five  others  are  in  manu- 
script.    [  R.7  ] 

BERGE,  WILLIAM  (d.  1883).  See  Regis- 
ter, 4. 

BERGER,  RUDOLF  (1874-1915).  See  Reg- 
ister, 9. 

BERGER,  WILHELM  (Aug.  9,  1861,  Bos- 
ton :  Jan.  16,  1911,  Meiningen,  Germany). 
Bee  article  in  Vol.  i.  308.  He  taught  piano  at 
the  Klindworth-Scharwenka  Conservatory  in 
Berlin  in  1888-1903  and  then  succeeded  Fritz 
Steinbach  as  director  of  the  Meiningen  Or- 
chestra. He  was  Royal  Prussian  Professor 
and  member  of  the  Royal  Academy  of  Arts. 
To  the  list  of  works  add  a  Symphony  in  B 
minor,  op.  80 ;  Variations  and  Fugue  for  or- 
chestra, op.  97 ;  three  Ballades  for  baritone 
and  orchestra;  'Der  Totentanz,'  op.  86,  for 
mixed  chorus  and  large  orchestra;  many 
songs,   choruses,   and  piano-pieces.     [  R.7  ] 

BERGH,  ARTHUR  (Mar.  24,  1882,  St. 
Paul),  began  violin-study  at  five,  and  received 
his  entire  training  in  America.  In  1903  he 
came  to  New  York,  for  five  years  was  violinist 
in  the  New  York  Symphony  Society,  and  then 
was  in  the  orchestra  of  the  Metropolitan  Opera 
House.  He  taught  violin,  harmony  and  com- 
position at  the  New  York  Institute  of  Music 
and  conducted  the  Municipal  Concerts  in 
1911-14.  He  has  lectured  on  American  mu- 
sic and  is  secretary  of  the  American  Music 
Society.  His  melodramatic  music  to  Poe's 
'Raven,'  op.  20,  was  first  produced  in  1909, 
with  orchestra  under  his  direction  and  with 


Bispham  as  reader.  A  second  melodrama, 
also  with  orchestra,  is  on  Browning's  'Pied 
Piper  of  Hamelin,'  op.  23.  He  has  also  a 
symphonic  choral  for  orchestra  and  chorus, 
'The  Unnamed  City';  a  romantic  opera, 
'  Niorada ' ;  two  overtures ;  a  Festival  March 
for  orchestra;  'The  Night  Rider,'  a  song  mth 
orchestra;  piano-  and  violin-pieces  and  some 
thirty  songs.     [  R.9  ] 

BERGMANN,  B.     See  Register,  2. 

BERGMANN,  KARL  (1821-1876).  See 
Vol.  i.  308-9,  and  Register,  4. 

BERGNER,  FREDERIC  (1827-  ?  ).  See 
Register,  4. 

BERGQUIST,  JOHN  VICTOR  (b.  1877). 
See  Register,  8. 

BERKENHEAD,  JOHN  L.  See  Register,  2. 

BERKSHIRE  FESTIVALS  OF  CHAM- 
BER MUSIC,  THE,  held  at  Pittsfield,  Mass., 
were  established  in  1918  by  Mrs.  Frederick 
S.  Coolidge  of  New  York,  whose  summer- 
home  at  Pittsfield  provides  an  ideal  place  for 
them.  The  first  Festival  occurred  on  Sept.  16- 
18,  1918,  the  participants  being  the  Berkshire 
String  Quartet,  the  Elshuco  Trio,  the  Longy 
Club  and  the  Letz  Quartet.  The  five  programs 
included  Loeillet's  Sonata  for  flute,  oboe  and 
piano,  Mozart's  Quartet  in  G  (Kochel,  387), 
Quintet  (Kochel,  516)  and  Quintet  for  piano 
and  wood- wind,  Beethoven's  Quartets  in  E-flat, 
opp.  74  and  127,  Schubert's  Trio  in  B-flat,  op. 
99,  no.  1,  Brahms'  Sextet  in  B-flat,  op.  18,  and 
Trio  in  C  minor,  op.  lOL  Thuille's  Quintet,  op. 
20,  Reiser's  Quartet  in  E  minor,  Tanieiev's 
Quartet  in  B-flat,  op.  19,  larecki's  Quartet 
(prize  composition),  Ravel's  Trio  in  A  minor, 
d'Indy's  'Chanson  et  Danses,'  op.  50,  Piernfe's 
'  Pastorale  Vari6e,'  op.  30,  and  Caplet's  '  Suite 
Persane.'  The  second  Festival  occurred  on 
Sept.  25-27,  1919,  the  participants  being  the 
Berkshire  String  Quartet,  the  Flonzaley 
Quartet,  and  many  individual  artists,  includ- 
ing Harold  Bauer,  the  pianist,  Gustav  Lan- 
genus  and  Ugo  Savolini  from  the  New  York 
Chamber  Music  Society,  and  several  singers. 
The  five  programs  included  Mozart's  Quartet  in 
B-flat  (Kochel,  458),  Beethoven's  Quartets  in 
A  minor  and  F,  opp.  132  and  135,  and  Septet 
in  E-flat,  op.  20,  Brahms'  Trio  in  D,  op.  40, 
Saint-Saens'  Quartet  in  G,  op.  153  (first  time 
in  America),  Dvorak's  Quartet  in  E-flat,  op.  51, 
Elgar's  Quartet  in  E  minor,  op.  83  (first  time 
in  America),  Mason's  Pastorale  in  D,  op. 
8,  Sowerby's  Trio  in  E  minor  (first  time), 
Bloch's  Suite  for  viola  and  piano  (prize  com- 
position), Rebecca  Clarke's  Sonata  for  viola 
and  piano,  and  a  variety  of  vocal  selections 
for  soli  or  quartet  with  chamber-accompani- 
ment. A  prize  of  $  1000  is  offered  annually  for 
the  best  chamber-work  submitted,  the  winners 
being  Tadeusz  larecki  in  1918,  Ernest  Bloch 
in  1919  and  Francesco  Malipiero  in  1920. 


BERKSHIRE  QUARTET 


BETHLEHEM  BACH  CHOm  131 


BERKSHIRE  STRING  QUARTET,  THE, 
is  the  name  adopted  for  the  Kortschak  Quartet 
of  Chicago  as  reorganized  in  1917  under  the 
patronage  of  Mrs.  Frederick '  S.  Coolidge  of 
New  York  in  connection  with  the  Berkshire 
Festivals  (see  above).  It  consists  of  Hugo 
Kortschak  and  Sergei  Kotlarsky,  violins,  Clar- 
ence Evans,  viola  (in  place  of  George  Dasch), 
and  Emmeran  Stoeber,  'cello.  It  is  understood 
that  after  the  Festival  of  1920  the  Quartet  is  to 
be  discontinued. 

t  BERNERS,  Lord  [Gerald  Hugh  Tyrwhitt] 
(Sept.  18,  1883,  London,  England),  received 
his  musical  training  in  Dresden  and  London, 
entered  the  British  diplomatic  service  in  1909 
and  since  1912  has  been  attached  to  the 
British  Embassy  at  Rome.  He  succeeded  as 
Baron  Berners  in  1918.  His  first  published 
works  were  three  funeral-marches  for  piano, 
the  first  for  a  statesman,  the  second  for  a 
canary,  the  third  for  a  rich  aunt.  Then 
followed  '  Fragments  Psychologiques '  and  the 
miniature  tone-poem  'Le  Poisson  d'Or'  and 
'Valses  Bourgeoises,'  all  for  piano.  For 
orchestra  are  two  sets  of  three  pieces  each, 
the  fii'st  including  'Chinoiserie,'  'Valse  Senti- 
mentale'  and  'Kasatchok';  the  second,  a 
'Fantaisie  Espagnole,'  including  a  Prelude, 
Fandango  and  March.  The  latter  set  was 
played  at  the  London  Promenade  Concerts  in 
1919.  Lord  Berners'  work  is  said  to  be  in- 
fluenced by  his  association  with  his  friends 
Casella  and  Stravinsky. 

BERWALD,  WILLIAM  HENRY  (Dec.  26, 
1864,  Schwerin,  Germany),  studied  composition 
in  1883-87  with  Rheinberger  in  Munich  and 
in  1887-88  with  Faiszt  in  Stuttgart.  In  1889 
he  became  director  of  the  Philharmonic 
Society  in  Libau,  Russia,  and  in  1892  came  to 
America  as  professor  of  composition  and  piano 
in  the  College  of  Fine  Arts  of  Syracuse  Uni- 
versity, succeeding  Goetschius.  He  is  director 
of  the  Ladies'  Chorus  of  the  College  and  choir- 
director  at  the  Fourth  Presbyterian  Church. 
The  degrees  of  Mus.M.  and  Mus.D.  were  con- 
ferred upon  him  by  the  University  in  1903 
and  1912.  He  won  the  prize  offered  by  the 
Philadelphia  Manuscript  Society  for  a  quintet 
for  piano  and  strings,  a  gold  medal  in  the 
Clemson  anthem-competition  for  1912  and 
first  prize  for  a  part-song  for  mixed  voices  in 
the  'Etude'  competition.  His  works  for 
orchestra  have  been  performed  abroad  as  well 
as  here.  Tertius  Noble,  at  St.  Thomas' 
Church  in  New  York,  gave  the  initial  perform- 
ance of  his  cantata  'The  Seven  Last  Words 
of  Christ.'  His  violin-sonata  in  F  received 
special  recognition  from  Joachim,  and  his 
piano-compositions  were  valued  by  William 
Mason.  He  has  been  a  most  industrious 
composer,  long  lists  of  his  works  being  found 
in  the  catalogues  of  leading  publishers.     They 


include  73  piano-pieces,  36  songs,  7  vocal 
duets,  13  part-songs  and  11  anthems  for 
women's  voices,  106  anthems  for  mixed  voices, 
19  anthems  for  men's  voices,  10  cantatas,  3 
secular  part-songs  for  mixed  voices,  two 
sonatas  for  violin  and  piano  and  two  Romances 
for  'cello  and  piano.  His  unpublished  com- 
positions are  the  prize  piano-quintet,  a  piano- 
trio,  a  dramatic  overture  (played  by  the  Court 
Opera  Orchestra  in  Schwerin,  and  by  the  New 
York  Symphony  Society  in  Pittsburgh,  Chicago 
and  Syracuse)  and  an  overture,  'Walthari' 
(played  at  the  Syracuse  Festival  by  the  New 
York  Symphony  Society  and  by  the  American 
Symphony  Orchestra  in  Chicago).    [  R.8  ] 

BETHANY  COLLEGE,  Lindsborg,  Kan., 
has  become  a  notable  center  for  the  musical 
enthusiasm  of  Swedish  Lutherans.  Its  first 
class  was  graduated  in  1891,  and  from  that 
time  music  has  been  a  conspicuous  element  in 
its  entire  life.  Besides  elaborate  opportunities 
for  individual  instruction,  including  many 
instruments,  there  are  two  large  choruses,  two 
orchestras,  two  bands  and  several  glee-clubs. 
For  nearly  thirty  years  a  May  Festival  of  sev- 
eral days  has  been  held  that  has  become 
famous.  The  director  is  Hagbard  Brase,  with 
14  other  instructors. 

BETHLEHEM  BACH  CHOIR,  THE,  of 
Bethlehem,  Pa.,  was  organized  in  its  present 
form  in  1900  through  the  efforts  of  Mrs.  Ruth 
Porter  Doster  and  under  the  inspiration  of 
J.  Fred  Wolle,  at  that  time  organist  of  the 
Moravian  Church.  After  1905  it  was  sus- 
pended, owing  to  Dr.  Wolfe's  removal  to  Cali- 
fornia, but  resumed  in  1912,  this  time  with 
generous  assistance  from  Charles  M.  Schwab. 
Dr.  Wolle  has  been  conductor  throughout. 
Up  to  1920  fifteen  Bach  Festivals  have  been 
held,  those  before  1905  in  the  Moravian  Church 
and  those  since  1912  at  Lehigh  University 
in  South  Bethlehem.  The  Festivals  now 
regularly  occupy  two  days,  but  in  the  past 
they  have  once  covered  six  and  once  were 
distributed  in  three  groups  of  three  each. 
The  programs  have  varied  much  in  part,  but 
the  B  minor  Mass  has  been  sung  at  every 
Festival.  The  St.  Matthew  Passion  has  been 
given  three  times,  the  St.  John  Passion  twice, 
the  Christmas  Oratorio  (complete)  four  times 
and  the  Magnificat  four  times.  Some  forty 
cantatas  have  been  produced,  about  one- 
quarter  of  them  more  than  once,  and  many 
detached  chorales.  The  Second  and  Third 
Brandenburg  Concertos  and  the  Suites  in  B 
minor  and  D  have  been  played.  In  the  early 
years  the  chorus  was  small,  even  under  100, 
but  has  lately  been  increased  to  about  250. 
Originally  the  orchestra  was  made  up  of  local 
players,  many  of  them  amateurs,  but  since 
1912  members  of  the  Philadelphia  Orchestra 
have    been    utilized.    Altogether    about    700 


132 


BETHUNE 


BIRD 


of  the  people  of  Bethlehem  and  vicinity  have 
been  members  of  the  chorus.  The  audiences 
have  been  phenomenal  not  simply  for  size, 
but  for  their  representative  quality,  including 
professional  musicians  from  all  over  the 
country  and  many  others.  In  more  than  one 
respect,  therefore,  these  Festivals  are  unique  and 
extraordinary.  They  have  been  carried  on  with 
infinite  industry  and  devotion,  and  their  artistic 
quality  has  been  universally  acknowledged. 

Back  of  the  present  Bach  Choir  lies  much 
history.  One  of  the  first  acts  of  the  founders 
of  the  Moravian  settlement  at  Bethlehem  in 
1742  was  to  hold  a  Singstunde,  and  from  1744 
a  Collegium  Musicum  was  steadily  maintained, 
credited  with  very  early  performances  of  parts 
of  several  oratorios.  In  1820  this  was  re- 
placed by  the  Philharmonic  Society,  which  was 
an  oratorio  society  of  more  constant  character. 
In  1882  the  young  Wolle  organized  the  Beth- 
lehem Choral  Union,  which  lasted  ten  years 
and  gave  the  St.  Matthew  Passion  in  1892. 
See  Walters,  The  Bethlehem  Bach  Choir,  1918. 

BETHUNE,  THOMAS  G.  (1849?-1908). 
See  Register,  4. 

BETTI,  ADOLFO  (b.  1875).   See  Register,  9. 
BEUTEL,  CARL.    See  Colleges,  3   (Ne- 
braska Wesleyan  U.). 

'BIANCA.'  An  opera  by  Henry  K.  Had- 
ley,  awarded  the  SI 000  prize  offered  by  W. 
W.  Hinshaw  in  1917,  was  first  produced  on 
Oct.  18,  1918,  by  the  Society  of  American 
Singers  in  New  York  under  the  composer's 
direction. 

BIDDLE,  HORACE  PETERS  (1811-1900). 
See  Register,  5. 

BIDEZ,  L.  ALOYS  (b.  1847).  See  Regis- 
ter, 6. 

BIEDERMANN,  AUGUST  JULIUS  (1825- 
1907).     See  Register,  4. 

BIEDERMANN,  EDWARD  JULIUS  (b. 
1849).     See  Register,  6. 

BIFERI,  NICHOLAS.     See  Register,  1. 
BIGELOW,  WILLIAM  PINGRY  (b.  1867). 
See  Colleges,  1  (Amherst  C,  Mass.). 

BIGGS,  RICHARD  KEYS  (b.  1886).  See 
Register,  9. 

BIGLOW  &  MAIN,  of  New  York,  is  the 
publishing-firm  organized  in  1868  by  Lucius 
H.  Biglow  (1833-1907)  and  Sylvester  Main 
(1817-73),  primarily  to  take  over  the  publi- 
cation of  W.  B.  Bradbury's  books.  Almost  im- 
mediately they  began  the  issue  of  the  series 
known  as  the  'Gospel  Hymns'  of  Moody  and 
Sankey.  From  that  time  they  became  the 
chief  publishers  of  popular  hymns  and  tunes 
of  this  class  by  a  great  variety  of  editors. 
Hubert  P.  Main  (see  Register,  5),  the  well- 
known  hymnologist,  has  been  connected  with 
the  firm  since  its  foundation  and  is  now  its 
treasurer.  As  a  hint  of  the  magnitude  of  the 
business  it  is  enough  to  recall  that  in  1886  no 


less  than  18,000,000  copies  of  popular  hymn- 
books  had  been  sold.  When  interest  in  Tonic 
Sol-Fa  arose  Biglow  &  Main  became  its  princi- 
pal representatives  in  America.  They  have 
issued  some  English  choir-music  of  high  quality. 
BILES,  ETHEL.  See  Colleges,  3  (Cotner 
C,  Neb.). 

BILLINGS,  WILLIAM  (Oct.  7,  1746, 
Boston  :  Sept.  29,  1800,  Boston),  often 
erroneously  called  'the  first  American  com- 
poser,' was  an  uneducated  man  of  humble 
origin,  by  trade  a  tanner,  who  had  an  ir- 
repressible enthusiasm  for  developing  popular 
singing.  He  was  somewhat  grotesque  in 
personal  appearance,  unconventional  in  ex- 
pression and  far  from  technically  expert  in 
music.  But  his  zeal  was  contagious  and  the 
freshness  of  his  tunes  caught  popular  at- 
tention. His  first  efforts  came  when  the 
New  England  churches  were  beginning  to  use 
hymns  by  Watts  and  others  in  addition  to  the 
traditional  versified  Psalms,  and  the  rhyth- 
mical swing  and  curious  'fuguing'  effects  of 
his  tunes  corresponded  to  the  independent 
feeling  of  the  time.'  His  later  work,  after 
the  Revolutionary  War,  often  gave  voice  to 
the  patriotic  fervor  of  that  period.  His  name 
appears  in  1764  in  connection  with  the  sale  of 
concert-tickets.  His  series  of  six  books  began 
in  1770  (see  list  under  Tune-Books),  con- 
tinuing till  1794.  In  1774  he  seems  to  have 
conducted  a  singing-class  at  Stoughton,  which 
became  the  germ  of  the  Stoughton  Musical 
Society  in  1786.  It  is  probable  that  he  taught 
many  similar  classes.  Selections  from  his 
works,  mostly  'anthems,'  have  been  noted  in 
concert-programs  in  Boston  in  1782,  '87  and 
'96,  and  in  Philadelphia  in  1786-88.  A  few 
of  his  tunes,  such  as  'Chester'  (for  which  he 
provided  patriotic  words),  continued  in  use 
for  some  time,  though  steadily  replaced  by 
the  better  productions  of  later  writers.  It  is 
supposed  that  he  first  introduced,  or  at  least 
made  popular,  the  use  of  the  pitch-pipe  and 
also  of  the  'cello  or  double-bass  for  accompani- 
ment. See  Ritter,  Music  in  America,  chap,  iii 
(needlessly  caustic),  Mathews,  Hundred  Years 
of  Music,  pp.  25-9,  Elson,  Hist,  of  American 
Music,  pp.  12-9,  etc.     [  R.l  ] 

BIMBONI,  ALBERTO  (b.  1882).  See  Reg- 
ister, 10. 

BINDER,  FRITZ  (b.  1873) .   See  Register,  7. 

BINGHAM,  WALTER  VAN  DYKE  (b- 
1880).     See  Register,  9. 

BINTLIFF,  ELIZABETH,  nge  Battle.  See 
Colleges,  3  (RiponC,  Wis.,  Olivet  C,  Mich.). 

BIRD,  ARTHUR  (July  23,  1856,  Cam- 
bridge, Mass.).  To  the  works  listed  in  Vol.  i. 
328-9  may  be  added  a  set  of  '  Oriental  Scenes ' 

I  There  are  interesting  analogies  between  this 
outbreak  of  popular  tunes  in  America  in  1770  and 
the  rise  of  Methodist  singing  in  England  about  1740. 


BIRGE 


BLISS 


133 


for  organ.  The  comic  opera  'Daphne'  was 
given  in  New  York  in  1897.     [  R.6  ] 

BIRGE,  EDWARD  BAILEY  (b.  1868). 
See  Register,  9. 

BIRMINGHAM  CONSERVATORY,  THE, 
Birmingham,  Ala.,  was  founded  in  1895  by 
Benjamin  Guckenberger,  who  remained  in 
charge  till  1902,  when  he  was  succeeded  by- 
Edna  Gockel  and  (from  1903)  her  husband, 
William  Gussen.  The  institution  is  affiliated 
with  the  chain  of  schools  of  the  Sherwood 
Music  School  in  Chicago. 

BISCACCIANTI,  ELIZA,  nee  Ostinelli 
(1825-   ?  ).     See  Register,  4. 

BISCHOFF,  JOHN  W.  (1850-1909).  See 
Register,  6. 

BISHOP,  ANNA  (1814-1884).  See  Vol.  i. 
330-1,  and  Register,  4. 

BISPHAM,  DAVID  SCULL  (Jan.  5,  1857, 
Philadelphia).  See  article  in  Vol.  i.  333.  Add 
to  the  list  of  works  which  he  has  introduced 
in  America  and  England  the  following :  Liza 
Lehmann's  'Persian  Garden'  and  her  ro- 
mantic opera  'The  Vicar  of  Wakefield'  (Lon- 
don, Nov.  12,  1906);  Schilling's  'Witch's 
Song,'  Cole's  'King  Robert  of  Sicily,'  Bergh's 
setting  of  '  The  Raven '  and  many  other  pieces 
for  recitation.  He  has  constantly  championed 
the  use  of  English  versions  wherever  prac- 
ticable, and  has  made  a  specialty  of  song- 
cycles  in  English,  such  as  Beethoven's  'To 
a  Distant  Beloved,'  Schubert's  'Songs  of  the 
Mill'  and  'Winter  Journey,'  and  Schumann's 
'The  Poet's  Love.'  He  has  been  foremost  in 
reviving  the  art  of  declamation  to  music,  and 
is  noted  for  his  performance  of  Sophocles' 
'Antigone'  with  Mendelssohn's  music  and  of 
Byron's  'Manfred'  with  Schumann's  music. 
His  operatic  repertory  includes  over  fifty 
parts,  and  he  has  sung  in  more  than  a  hundred 
oratorios  and  cantatas  —  his  Elijah  being 
particularly  famous.  Of  songs  of  all  schools 
he  has  sung  at  least  1500.  His  powers  as  an 
actor  are  universally  recognized,  but  it  is  as 
a  singer  in  opera  and  concert  that  he  is  most 
widely  known.  He  has  edited  two  volumes 
of  songs  under  the  title  of  Bispham's  Albums, 
and  has  published  A  Quaker  Singer's  Recollec- 
tions, 1920.     [  R.8  ] 

BISSELL,  T.     See  Tune-Books,  1846. 

BLACK,  LOUIS.  See  State  Untversities 
(W.  Va.). 

BLAKE,  GEORGE  E.  (1775-1871).  See 
Register,  3,  and  Tune-Books,  1810. 

BLAKESLEE,  SAMUEL  H.  See  Col- 
leges, 3  (Ohio  Wesleyan  U.). 

BLANCHARD,  AMOS.  See  Tune-Books, 
1807. 

BLANCK,  HUBERT  DE  (June  11,  1856, 
Utrecht,  HoUand),  was  a  pupil  of  Dupuy  in 
composition  at  the  Li^ge  Conservatory,  and 
of  Ledent  in  piano,   and  won  a  scholarship 


from  the  Belgian  government.  At  seventeen 
he  toured  Russia,  Sweden  and  Germany  as 
pianist,  and  then  conducted  at  the  El  Dorado 
Theater  in  Warsaw.  In  1880  he  visited 
South  America  with  the  violinist  Dengremont, 
in  1881  taught  piano  at  the  New  York  College 
of  Music  and  in  1883  settled  in  Havana.  Two 
years  later  he  established  the  first  conservatory 
there.  He  was  imprisoned  for  revolutionary 
activity  in  1896  and  banished  by  order  of 
General  Weyler.  On  the  establishment  of 
order  he  returned  and  reopened  the  school  as 
the  Conservatorio  Nacional.  It  is  now  a 
large  institution,  with  branches  in  the  leading 
cities  of  Cuba.  He  has  composed  piano- 
pieces  and  songs.     [  R.7  ] 

BLASS,  ROBERT  (b.  1867).  See  Register, 
8. 

BLAUVELT,  LILLIAN  EVANS  (Mar.  16, 
1874,  Brooklyn,  N.  Y.).  See  article  in  Vol.  i. 
338-9.  Until  1914  she  made  annual  tours  in 
Europe  and  America.  In  1902  she  sang  the 
Coronation  Ode  by  special  command  at 
Albert  Hall  in  London  and  received  a  medal 
from  Edward  VII.  In  1905  she  sang  in  Russia 
and  made  a  tour  of  Europe  in  1908-09.  In 
1906-07  she  starred  in  the  comic  opera  'The 
Rose  of  Alhambra.'  She  received  the  Order 
of  St.  Cecilia  at  Rome  in  1901.     [  R.8  ] 

'BLIND  GIRL  OF  CASTEL-CUILLlfi, 
THE.'  A  three-act  opera,  with  ballet,  by 
Earl  R.  Drake,  produced  in  1914  in  Chicago. 

'  BLIND  TOM.'     See  Bethune,  Thomas  G. 

BLISS,  CHARLES  MERIT  (b.  1866).  See 
Colleges,  3  (Phillips  U.,  Okla.). 

BLISS,  PHILIP  PAUL  (1838-1876).  See 
Register,  5. 

BLISS,  PHILIP  PAUL,  Jr.  (Nov.  25,  1872, 
Chicago),  was  the  son  of  the  noted  writer  of 
'  Gospel  hymns '  and  was  educated  for  the 
ministry.  He  graduated  from  Princeton  in 
1894.  His  musical  education  was  under 
Clarke  and  Zeckwer  in  Philadelphia,  and  in 
Paris  in  1896-98  he  studied  organ  with  Guil- 
mant  and  composition  with  Massenet.  In 
1900-04  he  was  organist,  director  and  teacher 
of  public-school  music  at  Owego,  N.  Y.  In 
1904  he  went  to  Cincinnati,  as  musical  editor 
for  the  John  Chm-ch  Co.,  and  in  1911  took  a 
similar  position  with  the  Willis  Music  Co., 
where  he  is  still  engaged.  He  has  composed 
about  200  instructive  piano-pieces,  many 
operettas  (both  words  and  music),  sacred  and 
secular  cantatas,  choruses,  about  100  songs, 
duets  and  five  song-cycles  (two  published), 
a  piano-suite,  a  book  on  pedal-study,  a  graded 
course  for  piano,  4  vols.,  solos  for  organ,  violin 
and  'cello,  a  comic  opera  (unpublished),  etc. 
He  has  also  increased  the  repertoire  of  four-, 
six-  and  eight-hand  music  for  one  and  two 
pianos  and  for  two  violins  and  piano,  and  of 
musical  recitations  with  piano.     [  R.9  ] 


134 


BLOCH 


BOCHAU 


BLOCH,  ERNEST  (July  24,  1880,  Geneva, 
Switzerland) ,  was  a  pupil  at  Geneva  of  Jaques- 
Dalcroze  in  1894-96,  at  Brussels  of  Ysaye  and 
Rasse  in  1896-99,  and  at  Frankfort  of  Ivan 
Knorr  in  1899-1900.  He  spent  time  in  Paris 
and  Munich  before  returning  to  Geneva  in 
1904.  He  conducted  concerts  in  Lausanne 
and  Neuchatel  in  1909-10,  and  occasionally 
acted  as  guest-conductor  of  his  own  works. 
In  1911-15  he  lectured  at  the  Geneva  Conserv- 
atory. Since  1916  he  has  lived  in  the  United 
States,  for  two  years  teaching  composition 
at  the  Mannes  School  of  Music  in  New  York. 
His  compositions  are  the  symphonic  poem 
'  Vivre  et  Aimer '  (1900);  Symphony  in  C-sharp 
minor  (1901-03);  'Hiver-Printemps'  (1904- 
05,  Schirmer) ;  'Po&mes  d'Automne'  (1906, 
Schirmer)  ;  'Macbeth,'  drame  lyrique  (1904- 
10),  given  at  the  Op6ra-Comique  in  1910-11 
(Astruc-Enoch) ,  and  '  Historiettes  au  Cre- 
puscule'  (Demets).  Works  inspired  by  Jewish 
themes  are  '3  Poemes  Juifs'  (1913,  Schirmer) ; 
Psalms  137,  114  and  22  for  voice  and  orchestra 
(1911-14,  Schirmer);  'Schelomo,'  a  rhapsody 
for  'cello  and  orchestra  (1916,  Schirmer). 
'Israel,'  a  symphony  for  orchestra  and  voices, 
was  begun  in  1914 ;  the  Jewish  opera  '  J6zabel,' 
piano-pieces  and  other  works  are  still  in  an 
incomplete  stage.  The  string-quartet  in  B 
has  been  played  in  America  by  the  Flonzaley 
Quartet.  A  suite  for  viola  and  orchestra  (or 
piano)  is  in  ms.  He  has  conducted  perform- 
ances of  his  orchestral  works  in  Boston,  New 
York,  Philadelphia  and  Chicago,  and  they  have 
also  been  given  in  Minneapolis,  St.  Paul,  St. 
Louis  and  San  Francisco.  The  symphony  in  C- 
sharp  minor  has  been  pronounced  by  Romain 
Rolland  '  one  of  the  most  important  works  of 
the  modern  school.'  In  1919  he  won  the  prize 
in  the  Coolidge  (Berkshire)  competition  for 
his  Suite  for  viola  and  piano.    [  R.IO  ] 

BLODGETT,  BENJAMIN  COLMAN 
(Boston,  Mar.  12,  1838),  from  1847  studied 
piano  with  James  Hooton  of  Boston  and 
organ  with  W.  R.  Babcock.  He  became 
organist  of  the  Essex  Street  Church  in  1850 
and  in  1853  went  to  the  Eliot  Church  in 
Newton,  where  he  remained  five  years.  Then 
followed  a  period  of  three  years  at  Leipzig. 
In  1861  he  returned  to  Boston  and  was  active 
as  teacher,  concert-pianist  and  organist  of 
the  Park  Street  Church.  He  became  music- 
master  at  the  Maplewood  Institute  in  Pitts- 
field,  Mass.,  in  1865,  and  this  led  to  the  estab- 
lishment in  1870  of  a  separate  music-school 
under  his  direction.  In  1878  he  became 
professor  of  music  at  Smith  College  in  North- 
ampton, and  there  soon  established  the  Smith 
College  School  of  Music,  of  which  he  was  prin- 
cipal until  1903.  A  year  later  he  became  or- 
ganist and  choir-director  at  Leland  Stanford 
University  in  California.     Here  he  gave  many 


organ-recitals  until  the  destruction  of  the 
chapel  by  the  earthquake  of  April,  1906.  Ill- 
ness in  his  family  caused  his  retirement  from 
public  life  in  1914,  and  he  has  since  lived  in 
Seattle.  He  has  made  numerous  trips  to 
Europe,  appearing  as  pianist  several  times  in 
London  and  Leipzig,  and  making  the  acquaint- 
ance of  many  distinguished  musicians  (Liszt> 
at  Weimar  in  1860,  Wagner  at  Bayreuth  in 
1876  and  1882).  As  a  musical  educator  he 
exercised  influence  for  almost  half  a  century. 
Comparatively  little  of  his  attention  has  been 
given  to  composition,  but  he  has  published 
a  set  of  Etudes  for  advanced  piano-students, 
op.  20,  a  cantata,  'The  Prodigal  Son,'  op.  31 
(1895),  piano-pieces  and  church-music.  Un- 
published works  in  larger  form  are  the  oratorio 
'Job'  (Smith  College  Commencement,  1889, 
revised  1890),  an  overture,  concert-pieces  for 
orchestra  and  a  string-quartet.     [  R.4  ] 

BLUM,  ELIAS  (Feb.  22,  1881,  Isaacfalln, 
Hungary),  was  brought  to  Boston  in  1891,  and 
there  received  his  general  education,  studying 
piano  with  Kelterborn  and  composition  with 
Goetschius.  After  four  years'  study  at  the 
Grand-Ducal  School  in  Weimar  (organ,  piano, 
voice,  composition  and  conducting)  he  re- 
turned to  Boston  and  was  active  for  a  time 
as  singer  and  organist.  In  1909  he  went  to 
Walla  Walla,  Wash.,  as  music-director  at 
Whitman  College.  In  1917  he  removed  to 
Grinnell  College  in  Iowa.  His  published 
compositions  are  a  Passacaglia  and  ScherzO' 
for  organ,  a  Capriccio  for  piano,  songs, 
choruses  and  anthems.  A  nmnber  of  works, 
are  still  in  manuscript,  among  them  a  piano- 
trio  in  G  minor.     [  R.9  ] 

BLUMENSCHEIN,  WILLIAM  LEON- 
ARD (1849-1916).     See  Register,  6. 

BOCHAU,  CHARLES  HENRY  (July  7, 
1870,  Holstein,  Germany),  was  brought  tO' 
America  as  a  boy.  He  had  no  opportunity  for 
serious  musical  study  until  1892,  when  he 
entered  the  Peabody  Conservatory  in  Balti- 
more, studying  harmony  and  composition 
with  Hamerik,  Kahmer  and  Boise,  and  piano 
with  Burmeister.  After  graduation  in  1899 
he  also  studied  voice  with  Heimendahl.  In 
1897  he  was  appointed  on  the  staff  of  the  Con- 
servatory, where  he  is  now  in  the  vocal  depart- 
ment. Since  1905  he  has  also  had  charge  of 
music  at  the  Maryland  School  for  the  Blind. 
The  Kimball  Prize  of  the  Chicago  Madrigal 
Club  was  awarded  to  him  in  1908.  In  1910- 
14  he  was  choir-master  of  the  Madison  Avenue 
Synagogue  and  devoted  much  time  to  the 
arrangement  and  development  of  Jewish 
music.  He  became  director  of  the  Arion 
Singing  Society  in  1913,  succeeding  David 
Melamet,  and  has  recently  been  appointed 
conductor  of  the  new  Johns  Hopkins  Uni- 
versity Orchestra   (60    players),  consisting  of 


BODANZKY 


BOHANAN 


135 


members  of  the  student-body  and  facility 
and  the  best  amateurs  of  the  community. 
The  first  concert  was  given  in  May,  1919,  and 
inaugurated  a  new  musical  activity  in  the 
institution.  His  published  compositions  are 
the  prize-chorus  'I  know  the  way  of  the  wild 
blush-rose,'  for^  mixed  voices;  the  anthems 
'Hark  the  sound  of  holy  voices'  (Summy), 
'As  it  began  to  dawn'  (Novello),  'There  were 
shepherds'  (Schirmer),  Easter  and  Christmas 
Carols  (Schirmer,  Ditson),  'Sing,  O  daughter 
of  Zion,'  for  voice  and  piano  (Summy),  and 
several  violin-pieces  (Ditson,  and  Carl  Fischer). 
Still  in  MS.  are  a  Concert-Overture  and  Fan- 
taisie  for  large  orchestra,  a  String-Quartet  in 
G,  a  Serenade  for  strings  and  flute,  a  Nocturne 
for  'cello  and  piano,  and  a  Fugue  for  two 
choirs  on  'Ein'  feste  Burg,'  Hebraic  music  for 
chorus  and  organ,  detached  choruses,  and 
further  pieces  for  violin  and  piano.     [  R.8  ] 

BODANZKY,  ARTUR  (Dec.  16,  1877, 
Vienna,  Austria),  was  a  pupil  of  Griin, 
Gradener  and  J.  N.  Fuchs  at  the  Vienna  Con- 
servatory. He  became  a  violinist  in  the 
orchestra  of  the  Imperial  Opera  in  1896.  His 
first  engagement  as  conductor  was  in  1900  at 
Budweis  in  Bohemia,  going  thence  to  the 
Carl-Theater  in  Vienna.  He  conducted  a 
season  of  light  opera  in  Petrograd  in  1901. 
In  1902  he  returned  to  the  Vienna  Opera  as 
assistant  to  Mahler.  Two  years  later  he  was 
in  Paris  conducting  the  first  French  perform- 
ance of  'Fledermaus'  ('La  Chauve-Souri'). 
Returning  to  Vienna,  he  became  conductor  at 
the  Theater  an  der  Wien.  For  nearly  three 
seasons  from  1906  he  was  director  at  the  Royal 
Opera  in  Prague  and  also  conductor  of  the 
Philharmonic  Concerts  there.  In  1909  he 
became  director  of  the  Grand-Ducal  Theater  at 
Mannheim,  where  he  also  conducted  the  Phil- 
harmonic and  Oratorio  Society  concerts. 
At  the  same  time  he  made  frequent  visits  as 
guest-conductor  to  London,  Milan,  Rome, 
Petrograd,  Moscow,  Brussels,  Cologne,  Vienna, 
Munich  and  other  prominent  centers.  In 
1914  he  conducted  the  first  performance  of 
'Parsifal'  in  England.  In  1915  he  came  to 
the  Metropolitan  Opera  House  in  New  York. 
His  most  conspicuous  single  achievement  there 
is  his  new  version  of  Weber's  'Oberon,'  the 
score  and  orchestral  parts  of  which  he  reedited. 
In  the  spring  of  1919  he  made  his  debut  in 
New  York  as  a  symphonic  conductor,  leading 
the  New  Symphony  Orchestra.  He  has  con- 
tinued in  this  post  through  the  courtesy  of 
the  management  of  the  Opera.     [  R.IO  ] 

BOEKELMAN,  BERNARDUS  (June  9, 
1838,  Utrecht,  Holland),  had  his  first  musical 
studies  with  his  father,  Anton  J.  Boekelman, 
who  was  a  chorus-director  and  organist.  He 
studied  at  the  Leipzig  Conservatory  in  1857- 
60  under  Moscheles,  Richter  and  Hauptmaim, 


and  in  1862-64  was  a  private  pupil  of  von 
Biilow,  Kiel  and  Weitzmann.  He  migrated 
to  Mexico  during  Maximilian's  regime,  but  in 
1866  settled  in  New  York.  The  same  year  he 
toured  with  Carl  Formes  and  Jehin-Prunie 
under  the  management  of  Strakosch.  With 
R.  Richter,  violinist,  and  E.  Schenck,  'cellist, 
he  founded  the  New  York  Trio  Club,  and 
played  at  the  first  performance  in  New  York 
of  Tchaikovsky's  Trio,  op.  60,  Scharwenka's 
Concerto  in  B  minor  and  Liszt's  'Danse  Ma- 
cabre.' In  1883-97  he  was  music-director 
at  Miss  Porter's  School  in  Farmington,  Conn., 
and  since  1897  has  been  in  the  same  position 
at  Mrs.  Dow's  School  at  Briarcliff,  N.  Y..  as 
well  as  teaching  privately  in  New  York.  His 
published  works  include  a  Festival  March, 
op.  1,  for  piano,  four  hands  (also  for  band, 
string-orchestra  and  two  pianos) ;  a  Romance, 
op.  2,  for  violin  or  'cello  and  piano ;  a  'Balla- 
bile,'  op.  3,  for  piano  or  string-orchestra;  a 
Concert  Polonaise,  op.  4,  for  piano  (also  for 
two  pianos,  eight  hands,  string-orchestra  or 
military  band) ;  'Valse  de  la  Reine,'  op.  5,  for 
piano;  'A  Cheval,'  op.  6,  for  piano;  'In  der 
Einsamkeit,'  op.  7,  for  string-orchestra; 
'Sehnsucht,'  op.  8,  for  piano;  three  songs 
for  high  voice,  op.  9;  'Gondoliera,'  op.  10, 
for  violin  and  piano;  'Romance,'  op.  11,  for 
piano ;  six  thumb-studies,  op.  12,  for  piano ; 
'T6te-^-Tete,'  op.  13,  a  piano-waltz ;  and 
three  octave-studies  for  piano,  op.  14.  His 
analytical  editions  of  sixteen  fugues  from 
Bach's  'Well-Tempered  Clavichord'  and  'In- 
ventions' have  had  a  wide  circulation.  In 
these  the  themes  are  printed  in  colors  and 
rhombic  notes,  to  facilitate  the  study  of  con- 
trapuntal style.  The  fundamental  harmony 
is  printed  separately  for  a  second  piano  or  the 
organ.     [  R.5  ] 

BOEPPLER,  WILLIAM  (Feb.  21,  1863, 
Pferdsfeld,  Germany),  secured  his  university 
education  at  Leipzig  and  Bonn.  In  music  he 
was  trained  by  Gisbert  Enzian  in  Kreuznach, 
Reinecke,  Fiedler  and  Langer  in  Leipzig,  and 
Arnold  Mendelssohn  in  Bonn.  Kis  first 
teaching  in  America  was  at  Milwaukee  in 
1894.  In  1895  he  organized  there  the  A 
Cappella  Chorus,  in  1899  the  Wisconsin  Con- 
servatory, and  in  1902  the  Milwaukee  Sym- 
phony Orchestra.  In  1895  he  was  musical 
editor  of  the  Milwaukee  'Herald',  in  1896-97 
of  the  'Germania.'  Since  1904  he  has  also 
been  active  in  Chicago,  conducting  the  Sing- 
verein,  the  Germania  Club,  the  Turner-Man- 
nerchor,  and  the  male  chorus  of  the  First 
National  Bank.  Among  his  pupils  are  numer- 
ous singers  of  prominence.     [  R.8  ] 

BOGERT,  WALTER  LAWRENCE  (b. 
1864).     See  Register,  8. 

BOHANAN,  GEORGE  SMILEY  (b.  1869). 
See  CoLLEGEa,  3  (West  Virginia  Wesleyan  C). 


136 


BOHEMIAN  CLUB 


BOISE 


BOHEMIAN  CLUB,  THE,  of  San  Francisco, 
has  become  famous  for  maintaining  unique 
open-air  performances  for  its  members  and 
their  guests  in  which  literary,  dramatic  and 
musical  elements  are  mingled  in  varying 
proportions.  The  initial  experiment  was 
made  in  1878,  leading  to  a  series  of  'Mid- 
summer   High    Jinks'    that    continued    from 

1879  to  1901.  The  programs  for  these  were  at 
first  miscellaneous,  but  tended  after  1890  to  be- 
come unified  upon  some  plan  proposed  by 
the  leader  or  'sire'  for  the  year,  resulting 
often  in  a  continuous  play  or  drama.     From 

1880  the  exercises  regularly  culminated  in  a 
symbolic  ceremony  called  'The  Cremation  of 
Care,'  and  imtil  about  1910  the  thought 
underlying  this  dominated  other  exercises. 
Of  late  years,  however,  this  ceremony  has  been 
transferred  to  the  opening  of  the  celebration. 
Since  1902  the  principal  event  has  been  the 
presentation  of  a  'Grove-Play,'  which  has 
become  increasingly  significant  artistically. 
In  these  'plays,'  as  in  the  earlier  'Jinks,' 
music  has  figiu-ed  largely,  either  in  melodrama 
or  in  fairly  complete  operatic  form,  enlisting 
the  genius  of  many  composers  and  inter- 
preters. From  almost  the  first  the  'revels' 
have  been  held  in  the  impressive  redwood 
forests  of  Sonoma  County  to  the  northwest 
of  San  Francisco.  They  are  now  domiciled 
at  'The  Grove,'  a  tract  of  over  800  acres  on 
the  Russian  River  near  Guerneville.  Here 
the  Club  holds  a  two  weeks'  encampment  in 
August.  The  theater  or  arena  at  its  center 
now  has  (1920)  a  3-nianual  open-air  organ  re- 
sembling that  successfully  installed  at  San  Diego 
in  1915. 

Among  the  earlier  productions  which 
approximated  the  later  musico-dramatic  type 
were  'The  Sermon  of  the  Myriad  Leaves' 
(1892),  'The  Sacrifice  in  the  Forest'  (1893) 
and  'The  Enigma  of  Life'  (1901).  The  list 
of  '  Grove-Plays '  is  as  follows  : 

1902  'The  Man  in  the  Forest,'  text  by  C.  K.  Field, 

music  by  Joseph  D.  Redding. 

1903  'Montezuma,'    text    by    L.    A.    Robertson, 

music  by  Humphrey  J.  Stewart. 

1904  'The    Hamadryads,'    text    by    Will    Irwin, 

music  by  W.  J.  McCoy. 

1905  'The  Quest  of  the  Gorgon,'  text  by  N.  J. 

Tharp,  music  by  Theodor  J.  Vogt. 

1906  'The  Owl  and  Care,'  text  by  C.  K.  Field, 

music  by  H.  J.  Stewart.     Not  strictly  a 
Grove-Play. 

1907  'The  Triumph  of  Bohemia,'  text  by  George 

Sterling,  music  by  Edward  F.  Schneider. 

1908  'The    Sons    of    Baldur,'    text    by    Herman 

Scheffauer,  music  by  Arthur  Weiss. 

1909  'St.  Patrick  of  Tara,'  text  by  H.  M.  Stephens, 

music  by  Wallace  A.  Sabin. 

1910  'The  Cave-Man,'  text  by  C.  K.  Field,  music 

by  W.  J.  McCoy. 

1911  'The  Green  Knight,'  text  by  Porter  Garnett, 

music  by  Edward  G.  Stricklen. 

1912  'The   Atonement   of    Pan,'    text   by   J.    D. 

Redding,  music  by  Henry  K.  Hadley. 


1913  'The  Fall  of  Ug,'  text  by  Rufus  Steele,  musio 

by  Herman  Perlet. 

1914  'Nec-Natoma,'  text  by  J.  W.  Shiela,  musio 

by  Uda  Waldrop. 

1915  'Apollo,'   text  by   Frank   Pixley,   music  by 

Edward  F.  Schneider. 

1916  'Gold,'    text   by   F.    S.    Myrtle,    music   by 

Humphrey  J.  Stewart. 

1917  'The   Land   of   Happiness,'   text  by   C.   T. 

Crocker,  music  by  Joseph  D.  Redding. 

1918  'The  Twilight  of  the  Kings,'  text  by  R.  M. 

Hotaling,  music  by  Wallace  A.  Sabin. 

1919  'Life,'    text    by    H.    L.    Wilson,    music    by 

Domenico  Brescia. 

1920  '  The  Ilya  of  Muron,'  text  by  C.  C.  Dobie, 

music  by  Ulderico  Marcelli. 

In  1918  there  were  published  in  a  limited 
edition  three  volumes  of  Grove-Plays  of  the 
Bohemian  Club,  with  a  thoughtful  Introduction 
by  the  editor.  Porter  Garnett,  the  well-known 
dramatic  critic  and  author.  Many  of  the  plays 
are  preceded  by  special  introductions  by  the 
authors  of  the  words,  and  in  most  cases  notes  are 
given  of  the  principal  themes  employed  in  the 
musical  settings.  Articles  upon  the  work  of 
the  Club  have  been  written  by  Jesse  L.  Williama 
in  'Collier's  Magazine'  (Sept.  7,  1907),  by 
Arthur  Farwell  in  'Musical  America'  (Oct.  16, 
1909)  and  by  Percy  Mackaye  in  The  Civic 
Theatre  (1912).  See  also  an  appreciative  notice 
in  The  Art  of  Music,  iv.  396-9.1 

BOHEMIANS,  THE,  of  New  York,  is  a 
fraternal  union  of  musicians,  started  in  1907, 
of  which  Rubin  Goldmark  was  president  in 
1907-10  and  Franz  Kneisel  since  1910. 

BOISE,  OTIS  BARDWELL  (Aug.  13, 
1844,  Oberlin,  O.  :  Dec.  2,  1912,  Baltimore), 
while  attending  school  in  Cleveland  began  to 
play  the  organ  in  church  when  but  fourteen. 
In  1861  he  went  to  Leipzig,  studying  with 
Hauptmann,  Richter  and  Moscheles  for 
three  years  and  then  continued  at  Berlin 
with  Kullak.  In  1865  he  returned  to  Cleve- 
land and  for  five  years  was  teacher  and 
organist  there.  Then  followed  six  years  in 
New  York,  teaching  composition  in  the  New 
York  Conservatory  and  serving  as  organist 
at  the  Fifth  Avenue  Presbyterian  Church.  In 
1877  he  went  to  Europe  again  as  student  and 
composer  and  enjoyed  the  advice  and  assist- 
ance of  Liszt.  In  1878-88  he  was  in  New 
York,  for  three  years  in  music  and  for  seven 
years  in  other  business.  Then  for  thirteen 
years  he  was  in  Berlin,  gaining  a  fine  reputa- 
tion as  teacher  of  theory.  He  returned  to 
America  in  1901,  becoming  teacher  of  theory 
and  composition  at  the  Peabody  Conservatory 
in  Baltimoi'e  and  music-critic  of  the  'News,' 
holding  both  positions  until  his  death.  Among 
his  weU-known  pupils  are  Huss,  Brock  way, 
Hutcheson,  Arthur  Nevin  and  Atherton.     His 

»  The  data  for  the  above  summary  were  supplied 
by  the  courtesy  of  Mr.  Henry  Bretherick  of  San 
Francisco. 


BOITO 


BONVIN 


137 


compositions  included  both  orchestral  and 
other  works.  His  Harmony  Made  Practical, 
1900,  has  had  wide  acceptance  and  he  also 
wrote  Music  and  its  Masters,  1901.     [  R.5  ] 

t  BOITO,  ARRIGO  (Feb.  24,  1842,  Padua, 
Italy  :  June  10,  1918,  Milan).  See  article  in 
Vol.  i.  353-8.  To  the  last  he  was  busy  over 
his  opera  'Nero,'  whispering  'Nerone  6  finito' 
just  before  his  death.  In  March,  1912,  he 
was  made  Senator  of  the  Kingdom. 

BOLLINGER,  SAMUEL  (Sept.  22,  1871, 
Fort  Smith,  Ark.),  was  the  son  of  a  musician 
and  early  played  the  piano  in  his  father's  trio. 
His  first  piano-lessons  were  with  Emil  Winkler ; 
later  he  studied  at  Leipzig  with  Reinecke, 
Zwintscher,  Schreck  and  Quasdorf.  He  won 
a  scholarship  at  the  Conservatory,  taught 
there,  and  was  organist  of  the  American  Church 
in  1893-5.  In  1896  he  founded  the  Bollinger 
Conservatory  at  Fort  Smith,  Ark.,  but  two 
years  later  removed  to  San  Francisco.  Eight 
years  were  spent  there  and  one  in  Chicago 
before  starting  the  Bollinger  Piano  School  in 
St.  Louis  in  1907.  He  has  performed  pro- 
grams of  his  own  compositions,  besides  lectur- 
ing on  symphonies.     His  works  include 

'The  Sphinx,'  a  fantaisie-suite  for  orchestra  in  five 
scenes  —  'Slumber-Song,'  'The  Awakening,'  'The 
Riddle,'  'Theban  Festival,'  'Death-Song  of  the 
Sphinx'  (prize  from  the  St.  Louis  Art  League,  1916), 
op.  18. 

'Pompilia  and  Caponsacchi,'  a  dramatic  overture, 
based  on  Browning's  '  Ring  and  the  Book,'  op.  3. 

Waltzes  for  orchestra,  op.  9. 

Petite  Senate,  for  violin,  op.  2. 

Sonate  quasi  une  Fantaisie,  for  violin,  op.  9. 

Romanza,  for  violin,  op.  6  (Breitkopf). 

Caprice,  for  violin,  op.  11. 

Songs:  'Fancy'  and  'Wilt  thou  weep?'  op.  16 
(Schirmer) ;  'Youth  and  Love'  and  'A  Confession,' 
op.  12. 

Piano-pieces :  Scherzo,  Mazurka  and  Romanza 
Lamentosa,  op.  1  (Crude,  Leipzig) ;  '  Danse  M^lan- 
colique'  (F.  A.  Mills,  New  York);  '  Chopinesques ' : 
op.  4,  including  Prelude  ('At  Sea'),  Nocturne  and 
Impromptu  (Schirmer)  ;  op.  5,  including  Idylle, 
Barcarolle  and  Humoresque  (Breitkopf),  and  op. 
7,  including  'Danse  Caprice'  and  'Danse  Humor- 
istique'  (Breitkopf);  'Lament,'  op.  8,  no.  1  (Breit- 
kopf) ;  Tone-Poem,  op.  8,  no.  2  (Schirmer) ; 
'E16gie'  and  'Impromptu  Fantastique,'  op.  15 
(Shattiger,  St.  Louis) ;  Symphonic  Prelude,  a  concert- 
study,  op.  10;  op.  20,  including  'Trudging'  and  Ro- 
mance;   op.  21,  'American  Dance.' 

Fantaisie  Romantique,  for  organ,  op.  17.    [  R.8  ] 

BONAWITZ,  JOHANN  HEINRICH  (Dec. 
4, 1839,  Diirkheim,  Germany  :  Aug.  15,  1917, 
London),  was  of  Polish  origin.  He  studied 
at  the  Li^ge  Conservatory,  and  was  brought 
to  America  in  1852.  At  twenty-two  he  re- 
turned to  Europe  and  made  several  concert- 
tours  as  pianist  with  Joachim.  He  also  taught 
in  Wiesbaden,  Paris  and  London.  In  1872-73 
he  organized  popular  symphony-concerts  in 
New  York,  but  these  failed  from  lack  of  popular 
appreciation.  His  piano-recitals  on  a  tour  in 
1873  were  more  successful.     In  Philadelphia 


he  produced  two  operas,  'The  Bride  of 
Messina'  (1874)  and  'Ostrolenka'  (1875).  In 
1876  he  removed  to  Vienna,  and  his  last  thirty 
years  were  spent  in  London.  Here  he  founded 
the  Mozart  Society,  which  gave  annual  series 
of  concerts  largely  devoted  to  Mozart's 
music.  Excerpts  from  his  opera  'Napoleon' 
were  given  in  concert-form  in  London  in  1911. 
His  works  included  the  above  operas  and  also 
'Diogenes'  (1870)  and  'Irma'  (1885,  London), 
a  Requiem,  a  Stabat  Mater,  a  piano-quintet, 
a  string-quartet,  a  trio,  many  piano-pieces 
and  songs.     [  R.5  ] 

BOND,  CARRIE,  nie  Jacobs  (b.  1862). 
See  Register,  9. 

BONVIN,  LUDWIG  (Feb.  17,  1850,  Siders, 
Switzerland),  after  completing  his  college 
course  in  Sion  in  1870,  studied  medicine  in 
Vienna  and  law  in  Sion,  but  entered  the  Jesuit 
Order  in  1874  in  Holland.  There  and  in 
England  for  several  years  he  held  positions 
as  organist.  He  was  ordained  priest  in 
Liverpool  in  1885.  Since  1887  he  has  been  at 
Canisius  College  in  Buffalo,  as  head  of  the 
college  music-department  till  1907,  director 
of  the  choir  in  1887-95  and  1897-1905,  and 
of  the  orchestra  in  1888-1907.  As  a  musician 
he  is  chiefly  self-taught.  Though  once  en- 
gaged about  equally  in  secular  and  ecclesi- 
astical music,  he  has  lately  worked  to  improve 
the  music  and  text  of  Catholic  English  hym- 
nology  and  to  restore  the  original  rhythmic 
values  in  Gregorian  chant.  He  has  published 
several  hymn-books,  among  which  'Hosanna' 
is  most  notable.  Taking  up  the  work  of  A. 
Dechevreus  and  Gietmann,  he  has  also  pub- 
lished many  historical,  scientific  and  controver- 
sial essays  in  various  languages  and  issued 
several  practical  rhythmizations  of  the  Vatican 
melodies.     His  compositions  are  as  follows  : 

'A  Christmas-Night  Dream,'  op.  10,  for  string- 
orchestra  (Siegel)  —  also,  as  op.  8a,  for  violin,  'cello 
and  reed-organ  (Coppenroth) . 

Three  '  Tone-Pictuies,'  op.  12,  for  orchestra  (Breit- 
kopf). 

Ballade,  op.  25,  for  orchestra  (Breitkopf)  —  also 
for  violin,  'cello  and  piano. 

'Festival  Procession,'  op.  25,  for  orchestra  (Breit- 
kopf) —  also  in  chamber-arrangements. 

'Reminiscences,'  op.  31,  for  orchestra  (Breitkopf) , 
also  for  violin,  'cello  and  piano,  or  violin  and  piano. 

Symphony  in  G  minor,  op.  67  (Breitkopf). 

Two  Symphonic  Movements,  op.  71  (Breitkopf). 

'Suppressed  Sadness  at  the  Joyous  Feast,'  op.  12a, 
for  2  violins,  'cello,  reed-organ  and  piano  (Coppen- 
roth). 

Andante  Cantabile,  op.  77,  for  violin,  'cello,  reed- 
organ  and  piano  (Coppenroth)  —  also  for  organ 
(Leuckart) . 

Romanza,  op.  19,  for  violin  with  orchestra  or  piano 
(Breitkopf). 

Melody,  op.  56,  for  violin  and  piano  (Breitkopf) ,  or 
for  string-quartet  (Leuckart). 

Three  'Tone-Poems,'  op.  8,  for  organ  (Leuckart). 

Accompaniments  for  the  KjTiale  Parvum,  the 
hymnals   'Hosanna'  and   'Cantemus   Domino,'   and 


138 


BOOTT 


BOROWSKI 


three   Gregorian   Masses    (Coppenroth,   Herder  and 
Breitkopf  respectively) . 

'O  World,  Full  of  Sunny  Delight,'  op.  20,  for 
chorus,  soli  and  orchestra  (Breitkopf). 

'Wittekind,'  op.  28,  ballad  for  men's  chorus,  soli 
and  orchestra  (Breitkopf). 

'In  the  Summer  Night,'  op.  39,  for  chorus,  baritone 
and  orchestra  (Breitkopf). 

'Faring  Minstrels,'  op.  43,  for  men's  chorus  (Siegel) 
—  also  in  German  version. 

'Song  of  the  Spinning- Wheel,'  op.  48,  for  women's 
chorus  and  piano  (Hug). 

'Morn  on  the  Northern  Coast,'  op.  50,  for  chorus, 
baritone  and  orchestra  (Breitkopf). 

'Brittany,'  op.  60,  for  chorus,  baritone  and  or- 
chestra (Breitkopf). 

'Springtime,'  op.  73,  for  soprano  and  alto  with 
orchestra  (Breitkopf). 

Masses:     Cordis  Jesu,  op.  6,  three  arrangements 
(Capra,  J.  Fischer). 
St.  Canisius,  op.  26  (Boessnecker). 
Mariae  Virginis,  op.  49  (Schwann). 
St.  Csecilia,  op.  63  (Breitkopf). 
'Te  Chrlste  Supplices,'  op.  83  (Capra). 
St.  Ignatius,  op.  84  (Coppenroth). 
Gregoriana,  op.  88  (Feuchtinger). 
Immaculate    Conception,    op.     114     (in 

'Cajcilia,'  1915). 
Gregorian    (eight),    including    Requiem 
(Breitkopf,  Coppenroth). 
Psalm    103,  op.  68,    for   chorus,  soprano   and  or- 
chestra, German  and  English  text  (Breitkopf). 

Many   other   works   for   the   Catholic   service,    in- 
cluding Vespers,  Litanies,  Offertories,  Hymns,  etc. 
Many  songs,  sacred  and  secular. 

He  has  been  a  frequent  contributor  to  musical 
journals  in  Europe  and  America,  especially 
upon  liturgical  music.     [  R.7  ] 

BOOTT,  FRANCIS  (1813-1904).  See  Reg- 
istcr   6 

JBORDES,  CHARLES  (May  12,  1863, 
Vouvray-sur-Loire,  France  :  Nov.  8,  1909, 
near  Toulon).  See  article  in  Vol.  i.  362.  In 
1905  he  was  compelled  by  a  nervous  break- 
down to  leave  the  Schola  Cantorum,  but  in 
the  same  year  founded  the  Schola  de  Mont- 
pellier.  His  opera  'Les  Trois  Vagues'  was 
not  quite  complete  at  his  death.  For  orchestra 
he  composed  the  overture  'Errege  Juan'  and 
'Danses  Bearnaises,'  for  piano  and  orchestra 
a  'Rhapsodic  Basque,'  for  trumpet  and  or- 
chestra, a  'Divertissement,'  for  flute  and 
string-quartet,  and  a  'Suite  Basque.'  To  these 
should  be  added  pieces  for  piano  and  organ 
and  choruses.  He  collaborated  with  Saint- 
Saens  on  the  new  French  edition  of  Rameau's 
works.  See  article  in  Musiciens  Frangais 
d'Aujourd'hui,  2nd  ed.,  1911. 

BORI,  LUCREZIA  (b.  1888) .  See  Register, 
10. 

BORNSCHEIN,  FRANZ  CARL  (Feb.  10, 
1879,  Baltimore),  had  his  first  musical  instruc- 
tion from  his  father,  Theodore  W.  Born- 
schein,  and  then  entered  the  Peabody  Con- 
servatory in  1896  as  violin-student  under 
Van  Husteyn  and  of  theory  and  composition 
under    Hamerik,     Kahmer    and    Boise.     He 


gained  a  prize  for  his  String-Quartet  in  D  in 
1900  and  received  his  diploma  in  1902,  giving 
a  program  of  original  works  which  included 
the  prize  string-quartet,  groups  of  songs  and  a 
concerto  in  G  minor  for  violin,  played  by  him- 
self. In  1905  he  became  violin-instructor  and 
conductor  of  student-orchestras  at  the  Con- 
servatory. In  1906  his  setting  of  Cunning- 
ham's 'A  Wet  Sheet  and  a  Flowing  Sea'  was 
awarded  the  prize  offered  by  Kimball  through 
the  Chicago  Madrigal  Club.  In  1912,  in  the 
competition  of  the  Mendelssohn  Club  of  Cleve- 
land, he  won  part  of  the  divided  first  prize  for  a 
setting  of  Hugo's  'The  Djinns'  for  orchestra, 
mixed  chorus  and  baritone  solo.  In  1915  his 
cantata  'Onowa,'  for  mixed  voices,  soprano 
and  orchestra,  was  awarded  the  first  prize 
($500)  by  the  Tri-City  Music  Festival  Associa- 
tion of  New  Jersey.  His  published  works 
include  a  violin-concerto,  groups  of  violin- 
compositions,  choruses,  cantatas  with  orchestra, 
piano-pieces  and  songs.  His  material  in 
manuscript  includes  orchestral  works  in  large 
forms,  like  the  symphonic  suite  '  The  Phantom 
Canoe,'  the  symphonic  ballad  'Louisiana,' 
the  symphonic  poems  'The  Rime  of  the 
Ancient  Mariner'  and  'A  Hero's  Espousal.* 
Other  works  are  a  Sextet  for  flute  and  strings, 
a  Quintet  in  B  minor  for  piano  and  strings, 
pieces  for  violin,  songs  and  numerous  choral 
works.  He  was  music-critic  on  the  Baltimore 
'Evening  Sun'  for  several  years.  In  1913  he 
became  correspondent  for  'Musical  America.' 
He  has  contributed  to  leading  periodicals, 
made  editorial  revisions  and  enlargements  of 
standard  violin-works,  and  supplied  pedagogi- 
cal material  for  his  instrimient  in  the  Ditson 
Edition.  In  1915  he  became  director  of  the 
orchestras  at  the  Baltimore  Music  School 
Settlement  and  in  1916  organized  a  choral 
society  at  Smithsburg,  Md.  In  1918  he  took 
charge  of  the  Women's  Chorus  of  the  Myrtle 
Club  in  Baltimore,  and  was  also  appointed  choir- 
director  at  the  First  Unitarian  Church.  [  R.9  ] 
BOROWSKI,  FELIX  (Mar.  10,  1872,  Bur- 
ton, England),  came  of  distinguished  Pol- 
ish stock.  His  father  gave  him  his  [early 
instruction  on  the  piano  and  the  violin.  His 
mother  was  English,  a  pupil  of  Sterndale 
Bennett.  She  too  had  a  large  part  in  his 
training.  During  his  school-days  at  London 
and  at  Tunbridge  Wells  he  studied  the  violin 
with  Jacques  Rosenthal,  a  pupil  of  Leonard. 
He  gained  much  from  the  constant  practice 
of  chamber-music  at  home.  In  1887  he  went 
to  the  Cologne  Conservatory,  taking  violin 
with  Japha,  piano  with  Ernst  Heuser  and  com- 
position with  Gustav  Jensen.  In  London 
from  1889  he  had  violin-lessons  from  Pollitzer 
and  counterpoint  with  Pearce.  In  1892  he 
became  violin-teacher  at  a  school  in  Aberdeen, 
but  the  school  soon  failed  and  he  returned  to 


BOSETTI 


BOSTON  SINGERS'  SOCIETY   139 


London.  In  1896  he  produced  his  'Russian 
Sonata,'  which  won  strong  commendation  from 
Grieg,  as  also  from  Leschetizky,  Sauer,  Rosen- 
thal and  others.  Its  success  led  to  a  call  to 
join  the  faculty  of  the  Chicago  Musical  Col- 
lege as  teacher  of  composition,  beginning  in 
August,  1897.  Here  he  also  taught  the  violin 
and  lectured  on  music-history.  Recently 
(April,  1916)  he  has  succeeded  to  the  presidency 
of  the  College.  In  1905  he  also  was  Chicago 
correspondent  of  the  '  Musical  Courier,'  from 
1906  critic  for  the  Chicago  'Evening  Post,' 
and  in  1909-18  for  the  '  Record-Herald.'  Since 
1908  he  has  been  the  maker  of  the  program- 
books  for  the  Chicago  Symphony  Orchestra. 
His  chief  compositions  are 

'Marche  Triomphale,'  in  D  minor,  for  orchestra 
(1899,  Chicago). 

Concerto  for  piano  and  orchestra  (1914,  Chicago). 

'Eugene  On^gin,'  symphonic  poem. 

'CrSpuscule'  and  'S6r6nade,'  for  string-orchestra 
(1914,  Ravinia  Park). 

'Allegro  de  Concert,'  for  organ  and  orchestra 
(1915,  Chicago). 

'Valse  PathStique,'  for  orchestra  (1915,  Chicago). 

'El^gie  Symphonique,'  for  orchestra  (1917, 
Chicago). 

'Trois  Peintnres'  —  'Portrait  d'une  Jeime  Fille,' 
'Le  Jardin  de  Nuit,'  'La  Fete'  (1918,  Chicago). 

String-Quartet  in  A  minor,  dedicated  to  Grieg. 

'Boudour,'  a  pantomime-ballet  (1920,  Chicago). 

Two  Organ-Sonatas,  in  A  minor  and  C. 

Suite  in  E  minor,  for  organ. 

Many  piano-pieces,  largely  in  small  forms  (over 
60  published),  but  including  the  'Russian  Sonata' 
and  a  set  of  Seven  Preludes. 

Many  shorter  violin-pieces,  of  which  the  best- 
known  is  'Adoration.' 

Motet  for  6-part  chorus,  organ  and  'cello. 

About  20  songs.  [  R.8  ] 

BOSETTI,  JOSEPH  (b.  1886).  See  Regis- 
ter, 10. 

JBOSSI,  MARCO  ENRICO  (Apr.  25,  1861, 
Salo,  Italy).  See  article  in  Vol.  i.  366-7.  In 
1912  he  resigned  from  the  directorship  of  the 
Liceo  Musicale  at  Bologna  and  has  since  lived 
at  Como.  Among  his  later  works  are  a  Suite 
for  orchestra,  op.  126,  'Intermezzi  Goldoniani,' 
for  string-orchestra,  op.  127,  and  'Giovanna 
d'Arco,'  for  soli,  chorus  and  orchestra.  See 
list  of  works  in  Baker,  Diet,  of  Musicians, 
pp.  105-6. 

BOSTON  ACADEMY  OF  MUSIC.  See 
Academy  of  Music,  Boston. 

BOSTON  CONSERVATORY  OF  MUSIC, 
THE,  was  founded  in  1867  by  Julius  Eichberg, 
the  eminent  violinist,  who  continued  at  its 
head  till  his  death  in  1893.  For  many  years 
it  was  one  of  the  leading  schools  of  the  country, 
and  before  1886  is  said  to  have  educated  some 
15,000  pupils.  In  violin-instruction  it  was 
especially  eminent.  As  with  its  competitor, 
the  New  England  Conservatory  (also  founded 
in  1867),  much  teaching  was  for  a  long  time 
done  in  small  groups  instead  of  individually. 


After  Eichberg's  death  the  Conservatory  was 
for  a  time  continued  with  success  by  Herman 
P.  Chelius. 

BOSTON  IDEAL  OPERA  COMPANY, 
THE,  was  the  name  used  from  1879  by  a 
troupe  of  light-opera  singers,  the  best  of  whom 
later  (1887)  formed  the  more  famous  com- 
pany known  as  'The  Bostonians.'  'The 
Ideals'  were  first  assembled  by  Miss  Ober 
for  the  production  of  '  Pinafore.'  Leading 
singers  were  Barnabee  and  Karl. 

BOSTON  MUSIC  CO.,  THE,  was  started 
in  1885  by  Gustave  Schirmer,  the  son  of  the 
founder  of  the  Schirmer  house  in  New  York, 
and  conducted  by  him  till  1891,  when  he  re- 
turned to  New  York  to  succeed  his  father  and 
the  Boston  house  became  a  branch  of  that  in 
New  York.  The  Company  has  always  main- 
tained a  considerable  amount  of  independent 
pubhshing  and  has  put  forth  much  music  by 
American  composers. 

BOSTON  MUSIC  SCHOOL,  THE,  was 
one  of  the  early  attempts  to  establish  an 
institution  in  several  departments.  Prepara- 
tion for  it  was  begun  by  Benjamin  F.  Baker 
in  1847,  when  the  Academy  of  Music,  started 
by  Mason  in  1833,  came  to  an  end.  The 
School  was  incorporated  in  1851  and  opened 
with  a  considerable  faculty.  Baker  remained 
at  its  head  until  1868,  when  the  enterprise 
was  given  up. 

BOSTON  OPERA  COMPANY,  THE,  was 
organized  in  1908  on  lines  similar  to  those  of 
the  Metropolitan  in  New  York  and  in  such 
affiliation  with  it  as  to  admit  of  more  or  less 
exchange  of  artists,  especially  for  German 
works.  A  superb  new  opera-house  was  built 
and  in  November,  1909,  the  first  season 
opened  with  'La  Gioconda. '  To  increase 
the  supply  of  singers,  the  Boston  Opera  School 
was  started,  with  an  arrangement  for  'debu- 
tante-nights' at  intervals  for  the  appear- 
ance of  promising  aspirants.  In  1910  first 
American  performances  were  given  of  De- 
bussy's 'L'Enfant  Prodigue,'  Laparra's  'Ha- 
banera' and  Rachmaninov's  'The  Miser- 
Knight,'  in  1911  of  Converse's  'The  Sacrifice,' 
and  in  1913  of  Bizet's  'Djamileh,'  Aubert's 
'  La  Foret  Bleue '  and  Fevrier's  '  Monna  Vanna.' 
The  number  of  performances  each  season  was 
about  90.  The  outbreak  of  the  war  in  1914 
led  to  the  canceling  of  the  next  season,  and  in 
May,  1915,  the  enterprise  went  into  bank- 
ruptcy. Many  of  its  singers  and  most  of  its 
property  were  secured  by  Max  Rabinoff,  who 
for  two  years  longer  made  tours  with  what 
was  called  the  Boston  National  Opera  Com- 
pany, at  first  with  remarkable  success,  espe- 
cially in  the  fine  presentation  of  ballets.  But 
in  1917  this,  too,  became  bankrupt. 

BOSTON  SINGERS'  SOCIETY,  THE. 
See  BoYLSTON  Club. 


140     BOSTON  SINGING  CLUB 


BOUGHTON 


BOSTON  SINGING  CLUB,  THE.  See 
Vol.  i.  369. 

BOSTON  STRING  QUARTET,  THE,  was 
a  chamber-group  maintained  in  1915-19  by 
players  in  the  Boston  Symphony  Orchestra. 
It  consisted  of  Sylvain  Noack  and  Otto  Rath, 
violins,  Emil  Ferir,  viola,  and  Alwin  Schroeder, 
'cello. 

BOSTON  SYMPHONY  ORCHESTRA, 
THE.  See  Vol.  iv.  800-1.  The  supreme 
excellence  of  the  Orchestra  has  been  steadily 
maintained  and  its  commanding  influence 
widened  and  intensified.  The  character  of 
the  programs  and  of  their  interpretation  has 
naturally  varied  somewhat  with  changing 
conductors,  but  the  liberal  and  catholic  policy 
of  attention  to  the  whole  range  of  orchestral 
literature  has  been  constant.  Dr.  Muck's 
first  incumbency  as  conductor,  on  leave  from 
Berlin,  covered  the  seasons  of  1906-08.  From 
1908  to  1912  he  was  followed  by  Max  Fiedler. 
In  1912  Muck  returned  as  permanent  con- 
ductor, but  in  March,  1918,  he  was  arrested 
as  an  enemy  alien  and  in  1919  was  sent  out  of 
the  country.  The  conductor  for  1918-19  was 
the  French  composer  Henri  Rabaud,  and  since 
1919  Pierre  Monteux  (who  had  also  led  some 
performances  in  1918  before  Rabaud's  arrival). 
In '  1918  Witek  resigned  as  concertmaster 
and  was  followed  for  one  season  by  Fredric 
Fradkin,  whose  appointment  was  notable 
in  view  of  his  American  birth.  The  stress 
connected  with  the  removal  of  Muck  in  1918 
led  to  a  reorganization  of  the  management 
of  the  Orchestra,  Major  Higginson  retiring 
from  active  direction,  though  without  ceasing 
his  hearty  support,  and  the  control  passed 
into  the  hands  of  a  strong  Board  of  Directors. 
In  1919  Major  Higginson  died.  It  is  com- 
monly understood  that  his  endowment  of  the 
Orchestra  amounts  to  about  $1,000,000. 
Since  1901  the  program-books  of  the  concerts 
have  been  prepared  by  Philip  Hale.  They 
form  an  extraordinary  library  of  historical 
and  critical  information,  set  forth  with  force 
and  much  literary  dexterity.  See  Howe, 
The  Boston  Symphony  Orchestra,  1914. 

BOSTONIANS,  THE,  were  a  troupe 
formed  in  1887  for  the  giving  of  light  opera. 
Its  leaders  were  Henry  C.  Barnabee,  Tom 
Karl  and  W.  H.  Macdonald,  and  the  company 
derived  many  of  its  members  and  its  initial 
prestige  from  the  previous  Boston  Ideal  Opera 
Company.  The  latter  troupe  had  set  a  fine 
standard  for  artistic  finish  and  the  new  com- 
pany carried  it  still  higher.  The  organization 
continued  for  about  twenty-five  years  with  re- 
markable success,  bringing  out  a  long  list  of 
graceful  or  comic  works  and  introducing  a  not- 
able succession  of  effective  singers.  See  Barna- 
bee, My  Wanderin{js,  and  also  the  resume  of 
works  and  singers  in  The  Art  of  Music,  iv.  175-7. 


BOTT,  JEAN  JOSEPH  (1826-1895).  See 
Register,  7. 

BOTTA,  LUCA  (1882-1917).  See  Register, 
10. 

BOUCHER,  A.     See  Register,  3. 

BOUSDOUSQUIE.     See  Register,  4. 

J  BOUGHTON,  RUTLAND  (1878,  Eng- 
land), was  a  pupil  of  Stanford  at  the  Royal 
College  of  Music,  where  he  studied  in  1900-01. 
In  1904-11  he  taught  singing  at  the  Birming- 
ham School  of  Music.  When  the  World  War 
broke  out  he  tried  to  enlist,  but  was  declined 
at  first  for  physical  reasons.  In  the  belief 
that  artistic  effort  had  value  for  quickening 
national  spirit,  he  started  in  August,  1914,  a 
series  of  musico-dramatic  festivals  at  Glaston- 
bury in  Somerset,  aiming  at  first  only  to  bring 
out  a  cycle  of  music-dramas  on  Arthurian 
subjects  by  the  late  Reginald  R.  Buckley  and 
himself.  In  spite  of  some  checks  and  inter- 
ruptions, the  enterprise  has  gone  on  and  ex- 
panded until  now  it  has  enthusiastic  support 
from  a  large  circle  of  musical  and  literary 
people  and  there  is  prospect  of  the  erection 
of  a  special  theater  for  the  plays.  Up  to  1919 
there  had  been  79  performances,  of  which 
47  were  operatic.  Five  were  premieres  of 
dramas  by  English  composers.  Boughton's 
compositions  include  the  following : 

Stage-works  — 

'The  Immortal  Hour,'  choral  drama,  libretto  by 
Fiona  MacLeod. 

'The  Birth  of  Arthur,'  choral  drama,  libretto  by 
Buckley;  and  'The  Round  Table,'  choral 
drama,  libretto  by  Buckley  —  these  forming 
the  cycle  'Arthur  of  Britain.' 

'Bethlehem,'  based  on  the  Coventry  Nativity- 
Play. 

'The  Death  of  Columbine,'  opera-ballet  in  one 
act,  text  by  Bostock. 

'Dawn  at  Agincourt,'  dramatic  scene,  text  from 
Shakespeare. 

'The  Moon-Maiden,'  choral  ballet. 

'The  Death-Dance  of  Graine,'  ballet. 

'  Snow-White,'     ballet,     scenario    by    Margaret 
Morris. 
Choral  works  with  orchestra  — 

'Sir  Galahad,'  choral  march,  text  from  Tenny- 
son. 

'The  Skeleton  in  Armor,'  symphonic  poem,  text 
from  Longfellow. 

'The  Invincible  Armada,'  symphonic  poem,  text 
from  Schiller-Lytton. 

'Midnight,'  symphonic  poem,  text  by  Edward 
Carpenter. 

'A  Song  of  Liberty,'  text  by  Helen  Bantock. 
Choral  works  unaccompanied  — 

Five  sets  of  Choral  Variations  on  English  Folk- 
Songs  (Reeves). 

'The  City,'  motet,  text  by  Henry  Bryan  Binns. 
Chamber  and  orchestral  works  — 

'The  Chapel  of  Lyonesse,'  for  piano,  string- 
quartet  and  three  solo  voices,  text  by  William 
Morris. 

'A  Celtic  Prelude,'  for  piano,  violin  and  'cello. 

'March  of  the  British,'  for  orchestra  (Reeves). 

Three  Folk-Dances  for  strings  (Curwen). 
Also  several  smaller  choral  works. 


BOULLAY 


BOYLSTON  CLUB 


141 


See  article    by    Herbert   Antcliffe  in    'The 
Musical  Quarterly,'  January,  1918. 
BOULLAY,  LOUIS.     See  Register,  2. 
BOURNE,  WILLIAM  (d.  1885).     See  Reg- 

BOWEN,  GEORGE  OSCAR  (b.  1873). 
See  Register,  8. 

JBOWEN,  YORK  (Feb.  22,  1884,  London). 
See  article  in  Vol.  v.  618-9.  Further  works 
are : 

Two  Symphonies  (the  latter  produced  by  the  New 

Orchestra  in  London,  Feb.  1,  1912). 
'Tasso,'  symphonic  poem. 
Concert-Overture. 

Suite  in  D  minor,  for  violin  and  piano. 
Two  viola-sonatas,  in  C  minor  and  F   (Cobbett 

Prize) . 
Phantasy-Trio,  for  violin,  'cello  and  piano. 
Quartet,  for  four  violas. 
Phantasy-Septet,  for  clarinet,  horn,  string-quartet 

and  piano  (one  movement). 
String-Quartet  in  D  minor,  op.  41  (two  movements). 
'Poem,'  for  solo  viola,  harp  and  organ. 
Three  Suites  and  'Suite  Mignonne,'  for  piano. 

BOWMAN,  EDWARD  MORRIS  (July 
18,  1848,  Barnard,  Vt.  :  Aug.  27,  1913, 
Brooklyn),  was  a  graduate  of  St.  Lawrence 
University,  Canton,  N.  Y.  He  came  to  New 
York  in  1866  for  a  year's  study  with  William 
Mason  (piano)  and  J.  P.  Morgan  (organ  and 
theory).  In  1867  he  went  to  St.  Louis,  where 
for  three  years  he  was  organist  at  the  Union 
Methodist  Church  and  for  two  at  the  Second 
Presbyterian  Church.  In  1872-74  he  was  in 
Berlin  under  Bendel  in  piano,  Haupt  and 
Rohde  in  organ  and  Weitzniann  in  composi- 
tion, twice  going  to  Paris  in  summer  for  organ- 
lessons  with  Batiste.  Returning  to  St.  Louis, 
he  resumed  his  place  at  the  Second  Presby- 
terian Church,  taught  piano  and  organ,  and 
in  1877  published  an  English  version  of  Weitz- 
mann's  Manual  of  Musical  Theory,  which  was 
based  on  his  own  notes  of  Weitzmann's  teach- 
ing (from  this  a  German  version  was  made). 
For  a  time  in  1881  he  was  with  Guilmant  in 
Paris  and  also  worked  in  London  with  Mac- 
farren,  J.  F.  Bridge  and  Turpin.  He  was 
the  first  American  to  become  an  associate  of 
the  Royal  College  of  Organists.  Save  for 
this  year  abroad  he  was  organist  at  the  Second 
Baptist  Church  in  St.  Louis  from  1877  to  1887. 
In  1883  he  was  president  of  the  M.  T.  N.  A. 
(also  in  '84,  '93,  '94  and  1905).  In  1884  he 
was  the  organizer  and  till  1893  president  of  the 
American  College  of  Musicians,  which  did 
much  to  raise  standards  of  teaching.  In 
1887-94  he  was  organist  at  the  Peddle 
Memorial  Baptist  Church  in  Newark,  in 
1895-1906  at  the  Baptist  Temple  in  Brooklyn 
(with  a  noted  choir  of  200)  and  from  1906  at 
Calvary  Baptist  Church  in  New  York  (also 
with  large  choir  and  orchestra).  While  at 
Newark  (1891-95)  he  also  served  as  music- 
professor  at  Vassar  College  in  Poughkeepsie, 


following  Ritter.  In  1896  he  was  a  founder  of 
the  A.  G.  O.  He  was  not  only  a  superior 
organist,  but  had  marked  ability  as  a  teacher. 
His  forceful  personality  impressed  itself  upon 
music-education  in  many  ways.     [  R.5  ] 

BOYD,  CHARLES  N.  (b.  1875).  See  Reg- 
ister, 8. 

BOYLE,  GEORGE  FREDERICK  (June 
29,  1886,  Sydney,  Australia),  was  the  son  of 
music-teachers,  began  piano-lessons  at  five 
and  made  his  first  public  appearance  in  Sydney 
at  seven.  He  undertook  concert-tours  as 
pianist  at  fourteen,  continuing  thus  in  Australia, 
Tasmania  and  New  Zealand  for  five  years. 
He  then  went  to  Berlin  and  studied  for  a  time 
with  Busoni.  His  first  recital-program  in 
Berlin  (March,  1908)  included  MacDowell's 
'Keltic'  Sonata  (first  time  there).  He  con- 
certized  in  Holland  from  October,  1906,  and  in 
London  from  June,  1908,  being  associated  in 
Holland  with  Emma  Nevada  and  in  Great 
Britain  -wdth  Pauline  Donalda  and  Maud 
Allan.  In  1908  he  played  at  the  reception  to 
the  King  and  Queen  of  Spain,  and  in  1910 
appeared  with  the  Queen's  Hall  Orchestra 
under  Wood.  In  1910  he  came  to  America  as 
teacher  of  piano  at  the  Peabody  Conservatory 
in  Baltimore.  While  thus  busy  with  teaching 
he  has  found  opportunity  to  give  recitals  not 
only  in  Baltimore,  but  in  New  York,  Boston 
and  other  cities.  He  has  made  several  tours 
in  the  South.     His  compositions  include 

Concerto   in    D   minor,   for   piano   and   orchestra 
(Schirmer),  given   at  the  Worcester  Festival  of 
1911,  in  New  York  in  1912  and  elsewhere,  with 
Hutcheson  as  pianist,  as  well  as  in  England  and 
Australia. 
Symphonic  Fantasie,  for  orchestra,  given  by  St. 
Louis  Orchestra   in  1916  and  New  York  Sym- 
phony Society  in  1918. 
Concerto  for  'cello  and  orchestra,  given  by  Phila- 
delphia Orchestra  in  1918  with  Kindler  as  'cellist. 
Sonata  for   'cello  and   piano,  given  in   London   in 

1909  with  Jacques  Renard  as  'cellist. 
Sonata  in  B,  for  piano,  given  in  Baltimore  in  1916 

by  composer. 
'The  Pied  Piper  of  Hamelin,'  cantata  for  tenor, 
baritone,     contralto,      chorus     and      orchestra 
(Chappell). 
'Don  Ramiro,'  dramatic  cantata  (text  from  Heine) 

for  soprano,  tenor,  bass,  chorus  and  orchestra. 
'Slumber-Song,'  for  orchestra,  given  by  American 

Orchestra,  Chicago,  in  1915. 
'Aubade,'  for  orchestra,  given  by  St.  Louis  Or- 
chestra in  1916. 
Andante  Lamentoso  for  string-quartet. 
Many  shorter  piano-pieces  and  songs,  some  pub- 
lished by  Schirmer,  Novello,  Carl  Fischer,  etc. 

[  R.10  ] 
BOYLSTON  CLUB,  THE,  of  Boston,  was 
organized  in  1873  as  a  choral  society  of  about 
200  voices.  In  1875-93  it  was  led  by  George 
L.  Osgood  and  speedily  achieved  a  fine  reputa- 
tion for  artistic  efficiency  in  interpreting 
secular  works.  After  1890  it  was  known  aa 
the  Boston  Singers'  Society. 


142 


BRADBURY 


BRESSLER-GIANOLI 


BRADBURY,  WILLIAM  BATCHELDER 
(Oct.  6,  1816,  York,  Me.  :  Jan.  7,  1868, 
Montclair,  N.  J.),  from  1830  had  lessons  on 
the  piano  and  organ  in  Boston  from  Sumner 
Hill  and  Lowell  Mason  and  attended  the 
latter's  singing-classes.  From  1834  he  served 
as  church-organist.  In  1836  Mason  sent 
him  to  Machias,  Me.,  to  lead  a  class  and  later 
to  St.  John's,  N.  B.  In  1840  he  was  organist 
in  Brooklyn,  and  from  1841  at  the  Baptist 
Tabernacle  in  New  York,  where  and  in  other 
churches  he  organized  popular  singing-classes. 
These  latter  led  to  annual  'festivals,'  held  at 
the  Broadway  Tabernacle,  and  hastened  the 
recognition  of  music  in  the  public  schools. 
In  1841  he  published  his  first  book,  The  Young 
Choir,  assisted  by  Hastings,  with  whom  in 
1844-51  he  collaborated  upon  four  others  of 
more  importance.  In  1847-49  he  was  in  Eng- 
land and  Germany,  studying  at  Leipzig  with 
Hauptmann,  Moscheles,  Ernst  Wenzel  and 
Bohme,  besides  investigating  methods  of 
popular  instruction.  After  his  return  to  New 
York  he  was  active  in  classes  and  'conventions' 
and  in  editing  song-books,  sacred  and  secular. 
In  1854,  with  his  brother  E.  G.  Bradbury, 
he  went  into  the  business  of  piano-making 
with  success.  Altogether,  he  was  author  or 
editor  of  about  sixty  collections  of  popular  music. 
Among  these,  The  Jubilee  (1858)  had  a  sale 
of  over  200,000  copies,  and  Fresh  Laurels  and 
the  'Golden'  series  had  even  greater  popu- 
larity. Of  his  two  Sunday-school  cantatas, 
'Daniel'  (1853)  and  'Esther'  (1856),  the  lat- 
ter for  many  years  had  an  enormous  vogue. 
Many  of  his  simple,  but  melodious  tunes  are 
still  in  wide  use.  See  Tune-Books,  1841,  and 
under  Hastings ;  also  Hall,  Gospel  Song  and 
Hymn  Writers,  pp.  23-7.      [  R.3  ] 

BRADBURY  PIANO  CO.,  THE,  of  New 
York,  is  the  present  name  of  the  business 
established  in  1854  by  E.  G.  and  W.  B.  Brad- 
bury. Its  development  on  modern  lines  was 
due  to  the  skill  and  enterprise  of  F.  G.  Smith, 
who  in  1861  helped  perfect  the  'Bradbiu-y' 
piano  and  in  1867  became  W.  B.  Bradbury's 
successor  as  head  of  the  firm.  It  has  been 
continued  under  F.  G.  Smith,  2nd,  and  F.  G. 
Smith,  3rd.  Since  1917  William  Knabe,  3rd 
(b.  1872),  has  been  general  manager. 

BRADFORD,  SAMUEL  F.  See  Tune- 
Books,  1830. 

BRAHAM,  HERBERT  J.  (b.  1885).  See 
Register,  9. 

BRAINARD,  SILAS  (1814-1871).  See  Reg- 
ister, 3. 

BRAINARD'S  SONS  &  CO.,  of  Cleveland, 
is  the  publishing-house  founded  in  1836  by 
Silas  Brainard  and  taken  over  in  1871  by  his 
sons  Charles  S.  and  Henry  M.  Brainard.  In 
1876  the  firm  erected  a  large  building  of  its 
own.     They  also  have  a  house  in  Chicago. 


BRANDEIS,  FREDERIC  (July  5,  1835, 
Vienna,  Austria  :  May  14,  1899,  New  York), 
was  early  a  pupil  of  Czerny  and  Fischhof 
(piano)  and  of  Rufinatscha  (composition). 
He  was  brought  to  America  at  fourteen  and 
studied  with  Meyerhofer  in  New  York,  making 
his  debut  as  pianist  in  New  York  in  1851. 
He  toured  with  concert-companies,  like  that 
of  Wallace,  but  finally  settled  in  New  York 
as  teacher  and  composer.  He  was  organist 
of  the  (R.  C.)  Cathedral  in  Brooklyn  and  of 
one  of  the  large  New  York  synagogues.  His 
larger  works,  though  performed,  are  un- 
published (see  list  in  Baker,  Diet,  of  Musicians, 
p.  113).     [  R.4  ] 

BRANDT,  HERMANN  (b.  1842).  See 
Register,  6. 

BRANSCOMBE,  GENA  (Nov.  4,  1881, 
Picton,  Ont.),  is  descended  from  a  family  that 
settled  in  New  York  in  1640.  She  was  a 
pupil  at  the  Chicago  Musical  College  in  1897, 
studying  piano  with  Ziegfeld  and  Friedheim 
and  composition  with  Borowski.  On  graduat- 
ing in  1899  she  won  a  medal  for  composition. 
A  further  year  of  piano-study  with  Hans  von 
Schiller  brought  another  medal  and  appoint- 
ment in  the  faculty  of  the  College,  which  she 
held  for  seven  years.  In  1904  she  studied 
piano  with  Ganz,  and  in  1905  composition, 
especially  song-writing,  with  Von  Fielitz. 
In  1907-09  she  was  piano-teacher  at  the 
Whitman  Conservatory  in  Walla  Walla,  Wash. 
Going  to  Berlin  in  1909  she  resumed  work 
under  Ganz,  with  composition  under  Hiun- 
perdinck.  In  1910  she  married  John  Ferguson 
Tenney  of  New  York  and  has  since  lived  there. 
Her  songs  have  been  widely  sung.  About 
seventy  are  published  (Schirmer,  Ditson, 
Schmidt),  and  the  following  have  won  special 
favor:  'The  Morning  Wind,'  'I  bring  you 
heartsease,'  'Krishna,'  'Hail,  ye  tyme  of 
holie-dayes,'  'Dear  little  hut  by  the  rice- 
fields,'  'There's  a  woman  like  a  dewdrop,' 
'Three  Mystic  Ships,'  'Boot  and  Saddle,' 
'Dear  is  my  inlaid  sword,'  and  'Just  in  the 
hush.'  She  has  also  four  cycles  for  solo 
voice,  many  part-songs  for  women's  or  mixed 
voices  and  piano-  and  violin-pieces.  A  'Fes- 
tival Prelude'  for  orchestra  was  composed  for 
the  MacDowell  Festival  at  Peterboro,  N.  H., 
in  1914.     [  R.9  ] 

BRASE,  HAGBARD  (b.  1877).  See  Col- 
leges, 3  (Bethany  C,  Kan.). 

BRASLAU,  SOPHIE.     See  Register,  10. 
BRATTLE,  THOMAS  (d.  1713).     SeeReg- 

BREIL,  JOSEPH  CARL  (b.  1870).  See 
Register,  8. 

BREMNER,  JAMES  (d.  1780).  See  Regis- 
ter, 1. 

BRESSLER-GIANOLI,  CLOTILDE  (1875- 
1912).     See  Register,  9. 


BRETHERICK 


BROCKWAY 


143 


BRETHERICK,  HENRY  (b.  1849).  See 
Register,  6. 

BREWER,  JOHN  HYATT  (Jan.  18,  1856, 
Brooklyn),  for  seven  years  from  1864  was  boy- 
soprano  in  various  Brooklyn  and  New  York 
churches,  meanwhile  taking  lessons  on  the 
piano  and  the  organ.  From  1871  he  was 
organist  for  two  years  at  the  City  Park  Chapel 
in  Brooklyn,  for  four  at  the  Church  of  the 
Messiah  (P.  E.),  for  four  at  the  Clinton  Avenue 
Church  (Congregational),  and  finally,  since 
1881,  at  the  Lafayette  Avenue  Church  (Presby- 
terian). Besides  general  teaching  and  some 
recital-work,  he  has  been  active  as  conductor, 
having  been  leader  of  the  Cecilia  Society, 
the  Flatbush  Glee  Club,  the  Hoadley  Amateur 
Orchestra,  and  especially  the  Apollo  Club 
(all  in  Brooklyn).  He  was  one  of  the  original 
members  of  the  Apollo  Club  in  1877  and 
during  the  twenty-five  years  of  Buck's 
leadership  its  only  accompanist.  When  Buck 
retired  in  1903  he  became  his  successor,  con- 
tinuing ever  since.  He  was  a  charter-member 
of  the  music-section  of  the  Brooklyn  Institute, 
its  secretary  from  the  first  and  since  1906  one 
of  its  fellows.  He  was  a  founder  of  the  A.  G. 
O.,  fellow  since  1902  and  in  1905-08  warden. 
In  1914  he  was  made  Mus.D.  by  New  York 
University.  In  his  youth  he  was  for  ten 
years  (1878-88)  a  pupil  of  Buck  in  composi- 
tion. The  influence  of  his  teacher  may  doubt- 
less be  seen  in  the  following  list  of  works : 

String-Quartet  in  D  minor. 

Suite   in   G   minor,   for  orchestra  —  Prelude,   Bar- 
carolle, Intermezzo,  Peasants'  Dance  and  Finale 

(1891). 
'April  Winds,'  a  fantasie  for  orchestra. 
'Valse  Caprice'  and  'Romanza,'  for  string-quintet 

and  flute. 
'A  Springtime  Sketch,'  a  scherzo  for  string-quartet. 
'An  April  Song,'  a  cantilena  for  string-quartet. 
'  Reverie,'  for  organ,  harp,  'cello  and  violin  (Gray). 
'Forest  Song'  and  'Dance  of  the  Gnomes,'  sketches 

for  'cello  and  piano. 
'The  Lady  of  the  Lake,'  for  organ,  piano  and  'cello 

(1891,  Mason  &  Hamlin  prize). 
'Up  with  the  Flag  I  '  (1894,  Brooklyn  City  prize). 
'Lord    of    the    Dunderberg,'     cantata    for    men's 

voices  and  orchestra  (1905,  Schubert  Glee  Club 

prize). 
'Bedouin  Love-Song,'  a  cappella  chorus  for  mixed 

voices  (Chicago  Madrigal  Club  prize,  1906). 

The  total  number  of  his  compositions  is 
about  200.     [  R.6  ] 

'BRIDE  OF  MESSINA,  THE.'  An  opera 
by  J.  H.  Bonawitz,  brought  out  at  Philadel- 
phia in  1874. 

t  BRIDGE,  FRANK  (Feb.  26,  1879, 
Brighton,  England).  See  article  in  Vol.  v. 
619.  In  1910-11  he  conducted  the  Brema 
opera-season  at  the  Savoy  Theatre  and  in 
1913  the  Beecham  season  at  Covent  Garden. 
Additional  works  are  a  'Dance-Rhapsody' 
for  orchestra  (1909,  Liverpool  Festival),  the 
orchestral  suite  'The  Sea'   (1912),  a  'Dance 


Poem'  for  orchestra  (1914,  Philharmonic)  and 
notable  extensions  of  his  chamber-music  list. 

BRIGNOLI,  PASQUALINO  (d.  1884). 
See  Register,  4. 

BRINKERHOFF,  CLARA  M.,  n6e  Rolph. 
See  Register,  4. 

BRISTOW,  GEORGE  FREDERICK  (Dec. 
19,  1825,  Brooklyn  :  Dec.  13,  1898,  New 
York),  at  eleven  was  playing  the  violin  at  the 
Olympic  Theatre  in  New  York.  From  1842 
for  over  thirty  years  he  was  a  first  violinist  in 
the  New  York  Philharmonic  Society,  He 
was  conductor  of  the  Harmonic  Society  in 
1851-62,  a  church-organist  and  from  1854 
until  his  death  a  visiting-teacher  in  the  New 
York  public  schools.  W.  J.  Henderson  has 
described  him  as  'a  most  earnest  man,  filled 
with  a  real  love  for  his  art,  and  self-sacrificing 
in  labor  for  its  benefit'  and  as  'one  of  the 
earliest  of  the  long-suffering  band  of  American 
composers,  who  will  be  remembered  always  as 
one  who  strove  to  push  American  music  into 
artistic  prominence.'  His  chief  work  was  the 
opera  'Rip  Van  Winkle,'  performed  in  New 
York  on  Sept.  27,  1850,  and  again  in  1870.  An 
overture  was  played  by  the  Philharmonic 
Society  on  Jan.  9,  1847,  his  second  symphony 
on  Mar.  1,  1856,  his  third  symphony  on  Mar. 
26,  1859,  and  his  'Arcadian'  symphony  on 
Feb.  14,  1874.  He  also  wrote  two  oratorios, 
'Praise  to  God'  (1860)  and  'Daniel'  (1867); 
two  cantatas,  'The  Great  RepubUc'  (1880) 
and  '  Niagara ' ;  an  unfinished  opera,  '  Colum- 
bus ' ;  two  symphonies  besides  those  noted 
above ;  two  string-quartets ;  and  many  smaller 
works.     [  R.4  ] 

BRISTOW,  WILLIAM  RICHARD  (1803- 
1867).     See  Register,  3. 

BROADHURST,  Miss  (1775?-  ?  ).  See 
Register,  2. 

BROCKWAY,  HOWARD  A.  (Nov.  22, 
1870,  Brooklyn),  after  beginning  the  piano 
with  Kortheuer,  from  1890  spent  five  years 
at  Berlin  with  Barth  (piano)  and  Boise  (com- 
position). In  February,  1895,  he  gave  a 
concert  there  which  included,  besides  piano- 
solos,  his  Symphony  in  D  and  his  violin- 
sonata,  making  the  impression  of  unusual 
maturity.  From  1895  he  worked  in  New  York 
as  pianist  and  teacher  and  in  1903-10  was  in 
the  faculty  of  the  Peabody  Conser\'^atory  in 
Baltimore,  then  returning  to  New  York.  In 
1910  he  was  the  judge  of  the  Earl  Grey  Com- 
petition at  Toronto.  Later  he  joined  Lorraine 
Wyman  in  collecting  the  folk-songs  of  the 
Kentucky  highlands,  published  as  Lonesome 
Tunes,  1916  (Gray).  His  works  include  the 
following : 

Symphony  in  D,  op.  12  (1895),  given  by  Boston 

Symphony  Orchestra  in  1907. 
Ballade  in  G  minor,  op.  11,  for  orchestra  (1895). 
Scherziao  for  orchestra. 


144 


BROMFIELD 


BROUNOFF 


'Sylvan  Suite,'  op.  19,  for  orchestra  —  'Mid- 
summer Idyl,' '  Will  o*  the  Wisps,'  '  Dance  of  the 
Sylphs,'  'Evening  Song,'  'Midnight,'  'At  Day- 
break,' given  by  Boston  Symphony  Orchestra 
in  1903. 

Sonata  in  G  minor,  op.  9,  for  violin  and  piano 
(1895). 

Cavatina  and  Romanza,  for  violin  and  orchestra 
(1895). 

Suite  in  E  minor,  for  'cello  and  orchestra  (or  piano). 

Variations  on  an  original  theme,  for  piano. 

'  Charakterstiicke,'  'Phantasiostiicke,'  'Moods,' 
'Serenade'  and  many  sets  of  pieces  for  piano. 

'Sir  Oluf,'  cantata  for  mixed  chorus  and  orchestra. 

'Des  Sangera  Fluch'  and  two  others,  for  8-part 
chorus  a  cappella. 

Suite  for  'cello  and  piano,  op.  35. 

Quintet  for  strings  and  piano,  op.  36. 

Concerto  for  piano,  op.  37. 

See  appreciations  in  Hughes,  Contemporary 
American  Composers,  pp.  298-304,  and  The 
Art  of  Music,  iv.  382-3.     [  R.8  ] 

BROMFIELD,  EDWARD,  Jr.  (1723- 
1746).     See  Register,  1. 

BROOKFIELD  SUMMER  SCHOOL  OF 
SINGING,  THE,  Brookfield  Center,  Conn., 
was  founded  in  1900  by  Herbert  W.  Greene, 
who  has  continued  at  its  head  ever  since.  The 
enterprise  has  developed  into  a  significant 
colony  of  musical  workers  and  students. 

BROOKLYN  ORATORIO  SOCIETY, 
THE,  was  organized  in  1893  by  Walter  Henry 
Hall,  who  has  remained  its  conductor  to  the 
present  time.  Adopting  a  high  standard 
from  the  first,  it  speedily  secured  recognition. 
During  the  first  twenty  years  two  concerts 
were  given  annually  in  the  Academy  of  Music, 
the  only  adequate  concert-hall  in  the  city. 
When  this  was  burnt,  for  the  season  of  1904- 
05  the  concerts  were  transferred  to  Carnegie 
Hall  in  New  York,  but  later  resumed  in  the 
superior  new  Academy  of  Music  in  Brooklyn. 
The  Society  in  its  early  days  was  much  aided 
by  the  interest  of  Howard  W.  Connelly,  who 
had  been  secretary  of  Thomas'  Brooklyn 
choral  society,  and  by  the  adoption  of  its  con- 
certs into  the  system  of  entertainments  under 
the  Brooklyn  Institute  of  Arts  and  Sciences. 
In  1912  Mr.  Hall  became  professor  at 
Columbia,  and  the  Society  was  miade  one  of 
the  two  sections  in  the  University  Chorus, 
assisting  there  on  festival  occasions,  but  with 
entire  freedom  for  its  own  local  concerts. 
Besides  the  more  usual  oratorios,  the  Society 
has  to  its  credit  Handel's  'Samson'  and  'Acis 
and  Galatea,'  Bach's  St.  Matthew  Passion, 
Liszt's  'St.  Elizabeth,'  the  second  perform- 
ance in  America  of  Henschel's  Requiem 
(Metropolitan  Opera  House),  Elgar's  'Black 
Knight'  and  'Banner  of  St.  George,'  and  the 
first  performances  in  America  of  Elgar's 
'King  Olaf,'  'The  Music-Makers,'  'Spirit  of 
England'  and  Harty's  'Mystic  Trumpeter.' 
Two  Brooklyn  composers  have  also  been  repre- 
sented,   Buck   by   'The   Light   of    Asia'    and 


'The  Golden  Legend,'  and  Shelley  by  his 
'  Vexilla  Regis.' 

BROOKLYN  PHILHARMONIC  SOCI- 
ETY, THE.     See  Vol.  iv.  801. 

BROOKS,  HENRY  MASON.  See  Regis- 
ter, 7. 

BROOME,  WILLIAM  EDWARD  (1868, 
Manchester,  England),  had  his  early  training 
from  Roland  Rogers  of  Bangor  Cathedral ; 
in  theory  he  is  largely  self-taught.  He  was 
assistant-organist  of  Bangor  Cathedral  and 
of  St.  Mary's  at  Bangor  in  1883-90.  He 
conducted  the  Penrhyn  Male  Chorus,  which 
visited  the  Chicago  Eisteddfod  in  1893,  and 
gave  many  organ-recitals  in  the  United  States 
and  Canada.  He  located  first  in  Brockville, 
Ont.,  moved  to  Montreal  in  1894,  and  in  1905 
to  Toronto,  where  in  1907  he  succeeded  Vogt 
at  the  Jarvis  Baptist  Church.  In  1910  he 
organized  the  Toronto  Oratorio  Society, 
which  has  given  important  works  with  the 
assistance  of  the  New  York  Philharmonic, 
Russian  Symphony  and  Toronto  Symphony 
Orchestras.  He  holds  the  degree  of  Mus.D. 
(by  examination)  from  Toronto  University. 
He  has  officiated  as  judge  in  the  choral  con- 
tests at  the  Chicago,  Buffalo  and  St.  Louis 
Expositions  and  in  many  other  cities.  He  has 
published  about  100  works  (chiefly  Schirmer, 
Ditson,  Boston  Music  C^o.,  Schmidt).  These 
include  the  short  cantata  'A  Hymn  of  Trust,' 
for  tenor  solo,  chorus  and  orchestra  (Schirmer) ; 
the  dramatic  chorus  'Sea-Song,'  with  orchestra 
(Ditson) ;  many  anthems  and  a  series  of 
Opening  Sentences  from  the  Psalms.  He 
was  the  recipient  in  Wales  of  eight  national 
prizes  for  composition,  the  most  important 
being  for  the  opera  'The  Siege  of  Cardiff 
Castle,'  when  Bridge,  Parry  and  Mackenzie 
were  the  judges.     [  R.8  ] 

BROSKY,  FRANK  J.  (b.  1883).  See  Reg- 
ister, 9. 

BROUNOFF,  PLATON  G,  (May,  1863, 
Elizabethgrad,  Russia),  had  his  musical  educa- 
tion at  the  Musical  Institute  in  Warsaw  and 
the  Imperial  Conservatory  at  Petrograd, 
Rubinstein  and  Rimsky-Korsakov  being  among 
his  teachers.  In  1891  he  came  to  America 
and  in  1892  settled  in  New  York  as  teacher, 
singer  and  lecturer.  He  has  lectured  on 
Russian  music  and  kindred  topics  for  the 
Board  of  Education  in  New  York  and  many 
other  cities,  taught  operatic  classes  at  the 
Institute  of  Musical  Art  and  been  lecturer  on 
art  and  supervisor  at  the  Modern  Arts  Forum. 
He  has  written  the  Indian  opera,  'Ramona'; 
the  oratorio  '  The  Glory  of  God' ;  a  music- 
drama,  'Xilona' ;  four  symphonies  —  '  Russian 
Revolution,'  'Return  of  the  Jews  to  Palestine,' 
'Carnival  in  Rome'  and  'Titanic' ;  four  suites 
for  piano  and  two  for  violin ;  the  overture 
'Russia';    and    numerous   songs.     He   is    the 


BROWN 


BROWNE 


145 


author  of  The  Ten  Commandments  of  Piano- 
Practice.     [  R.9  ] 

BROWN,  ALLING.  See  Tune-Books, 
1823. 

BROWN,  BARTHOLOMEW.  See  Regis- 
ter, 3,  and  Tune-Books,  1802. 

BROWN,  EDDY  (July  16,  1895,  Chicago), 
whose  father  was  an  Austrian  Pole  and  his 
mother  a  Russian,  began  violin-study  at  an 
early  age  and  continued  with  Hubay  in  Buda- 
pest, receiving  the  artists'  diploma  from  the 
Royal  Conservatory  when  only  twelve.  He 
then  went  to  Petrograd  and  studied  with  Auer. 
In  1910  he  made  a  sensational  debut  in  Berlin, 
and  appearances  with  many  European  orches- 
tras followed,  under  conductors  like  Nikisch, 
Mengelberg,  Safonov  and  Steinbach.  Since 
1916  he  has  toured  in  America,  playing  with 
all  the  large  orchestras  and  appearing  in  every 
important  city.  He  has  composed  much  for 
violin  and  piano,  besides  many  songs,  and 
has  made  numerous  arrangements  for  violin. 
A  musical  comedy,  finished  in  1919,  is  prom- 
ised an  early  New  York  production.     [  R.IO  ] 

BROWN,  WILLIAM.     See  Register,  2. 

BROWN  COLLECTION  OF  MUSICAL 
INSTRUMENTS,  THE,  at  the  Metropolitan 
Museum  of  Art  in  New  York,  one  of  the  largest 
in  the  world,  was  gathered  mainly  by  Mary  E. 
(Adams)  Brown  (d.  1917),  wife  of  John  Crosby 
Brown,  who  for  many  years  was  at  the  head 
of  the  banking-firm  of  Brown  Brothers.  In 
1884  Mrs.  Brown,  having  procured  a  few 
Italian  instriunents  for  decorative  purposes, 
became  interested  in  their  historic  and  scientific 
value  and  became  a  zealous  collector.  In 
1889  she  offered  the  275  specimens  that  she 
then  had  to  the  Metropolitan  Museum,  re- 
taining the  right  to  increase  and  supervise  the 
Collection  during  her  lifetime.  This  offer  was 
accepted,  and  a  small  but  interesting  group 
of  instruments,  mostly  given  by  Joseph  Drexel, 
was  combined  with  her  donation.  The  growth 
of  the  Collection  from  that  time  was  rapid 
and  so  wisely  directed  that  it  soon  became 
one  of  the  remarkable  features  in  the  Museimi. 
In  1893  adequate  rooms  for  its  display  were 
assigned  in  the  new  north  wing,  the  nimiber 
of  items  then  being  about  700.  In  1899  this 
number  had  increased  to  over  2000,  in  1906  to 
over  3500,  and  is  now  about  3700. 

In  its  present  arrangement,  the  Collection 
offers  opportunity  for  study  in  three  ways : 
(a)  ethnographically,  by  countries  or  races ; 
(6)  historically,  by  periods  or  stages;  (c) 
eystematically  or  analytically,  by  classes  and 
types.  In  each  series,  where  actual  specimens 
of  importance  are  not  available,  they  are 
represented  by  reproductions  or  photographs. 
Great  pains  is  taken  to  facilitate  intelligent 
study  by  explanatory  labels,  diagrams  and 
other  illustrations,  collateral  information  and 


book-references.  A  notable  extension  of  the 
Collection  is  the  series  of  engraved,  etched 
or  lithographed  portraits  of  composers,  per- 
formers and  writers  —  numbering  nearly  1000 
specimens  —  which  has  developed  from  initial 
gifts  by  Thatcher  M.  Adams  in  1899  and  Mrs. 
Charles  B.  Foote  soon  after.  The  manufacture 
of  many  leading  modern  instrmnents  is  illus- 
trated by  analytic  models  of  parts  in  process 
of  formation.  Because  of  its  comprehensive- 
ness and  system  the  Collection  is  not  only 
valuable  for  musical  history,  but  also  signifi- 
cant for  the  ethnologist,  the  student  of  social 
manners  and  implements,  and  inquirers  about 
matters  so  diverse  as  the  arts  of  decoration 
and  the  science  of  acoustics.  Because  of  its 
size,  and  especially  because  displayed  with 
unparalleled  clearness  and  convenience,  it 
has  but  one  or  two  rivals  anywhere. 

Though  exceedingly  rich  in  other  directions, 
the  Collection  is  noted  for  its  rare  specimens 
of  keyboard-instruments.  Chief  among  these 
is  the  Cristofori  piano  of  1720,  the  earliest  of 
the  two  known  examples  of  his  own  handiwork. 
The  elegant  double  spinet  of  Grovellus  (1600) 
is  one  of  but  three  known  instances  of  this 
peculiar  type.  Of  harpsichords  there  are  two 
fine  specimens  with  two  banks,  from  the  17th 
and  the  18th  centuries  respectively,  and  one 
with  tliree  banks,  made  by  Sodi  in  1779. 
Curious  and  historic  is  the  claviorganum 
(harpsichord  and  organ  combined),  originally 
made  in  1712  for  the  Elector  of  Hanover, 
but  its  harpsichord  division  remodeled  into  a 
piano,  which  was  once  in  Carl  Engel's  famous 
collection.  In  1911  the  Museum  received 
from  Bernardus  Boekelman  a  Ruckers  virginal 
of  1622  and  a  Pasquino  Querci  spinet. 

BROWN  MUSICAL  LIBRARY,  THE 
ALLEN  A.,  in  the  Boston  Public  Library,  was 
presented  in  1894  by  Allen  A.  Brown,  a  Boston 
business-man.  It  then  contained  about  7000 
volumes.  By  further  gifts  from  Mr.  Brown 
and  others  and  by  purchases  it  was  increased 
to  about  11,000  in  1910,  and  is  now  reckoned 
at  about  15,000.  It  is  rich  in  many  different 
directions  —  in  scores  of  every  sort,  instru- 
mental and  vocal,  in  standard  critical  editions 
of  the  complete  works  of  great  composers,  in 
historical,  theoretical  and  critical  works 
about  music,  in  unique  collections  of  pro- 
grams, etc.  The  collection  is  located  in  a 
separate  section  of  the  Library,  and  is  for 
reference  only.  See  Vol.  ii.  717,  and  paper  by 
H.  G.  Wadlin,  the  librarian,  in  M.  T.  N.  A. 
Proceedings,  1910,  pp.  192-200. 

BROWNE,  JOHN  LEWIS  (May  IS,  1866, 
London),  the  son  of  an  English  organist,  was 
brought  to  America  in  1873  and  studied  with 
S.  P.  Warren  and  Archer.  In  1888-92  he  was 
organist  of  the  Holy  Name  Cathedral  in 
Chicago,  in  1892-98  at  San  Francisco,  in  1899- 


146 


BROWNLBE 


BUCK 


1907  at  Atlanta,  in  1908-10  at  Wanamaker'a 
in  Philadelphia,  and  since  1912  at  St.  Patrick's 
Church  in  Chicago  and  also  theory-teacher 
at  the  Metropolitan  Conservatory.  In  1901 
he  was  soloist  at  the  Royal  Academy  of  St. 
Cecilia  in  Rome,  and  appeared  at  the  World's 
Fairs  at  St.  Louis  in  1904  and  at  Jamestown 
in  1907.  In  Philadelphia  he  gave  over  500 
concerts  and  has  been  heard  in  recital  in  most 
of  the  larger  cities.  He  designed  the  great 
organ  in  the  Medinah  Temple  in  Chicago, 
at  its  opening  playing  Borowski's  'Allegro  de 
Concert'  for  organ  and  orchestra  for  the  first 
time,  the  composer  conducting.  At  Atlanta 
he  conducted  the  Symphony  Orchestra  and  the 
Atlanta  Festival  for  three  years.  In  1914  he 
was  elected  to  the  Royal  Philharmonic  Acad- 
emy in  Rome,  and  in  1916-19  was  dean  of 
the  Illinois  Chapter  of  the  A.  G.  O.  He  has 
written  the  opera  'La  Corsicana'  (New  York, 
1903),  a  Missa  Solemnis  (1913),  the  motet 
'Ecce  Sacerdos  Magnus'  (Paulist  Choristers 
at  the  Vatican,  1912),  and  more  than  sixty 
lesser  pieces,  vocal  and  instriunental.  In 
manuscript  are  a  suite  for  orchestra,  a 
'Romanza'  for  orchestra  and  an  organ-sonata. 
He  was  made  Mus.D.  by  the  Grand  Conser- 
vatory, New  York,  in  1902.     [  R.7  ] 

BROWNLEE,  CORNELIA.  See  Colleges, 
3(Shurtleff  C.,I11.). 

BROWNSON,  OLIVER.  See  Tune-Books, 
1783. 

JBRUCH,  MAX  (Jan.  6,  1838,  Cologne, 
Germany).  See  article  in  Vol.  i.  407-8.'  He 
retired  from  active  participation  in  musical 
affairs  in  1910.    His  later  compositions  include 

'Szene  der  Marfa,'  op.  80,  for  mezzo-soprano  and 

orchestra,  text  from  Schiller. 
Osterkantate,    op.     81,    for    soprano,    chorus,    or- 
chestra and  organ. 
'Das  Wessobrunner  Gebet,'  op.  82  (arranged  from 

op.  19),  for  mixed  chorus,  orchestra  and  organ. 
Eight  Trios,  op.  83,  for  piano,  violin  and  'cello  (or 

three  clarinets). 
Konzertstiick,    op.    84,    for    violin    and    orchestra 

(Norfolk  Festival,  1911). 
Romanza  in  F,  op.  85,  for  violin  and  orchestra. 
Six  songs,  op.  86,  for  mixed  chorus. 
'Die   Macht  des  Gesanges,'   op.   87,   for  baritone, 

chorus,  orchestra  and  organ,  text  from  Schiller. 
Concerto,  op.  88,  for  two  pianos  and  orchestra. 
'Heldenfeier,'  op.  89,  for  chorus  and  orchestra. 
Also  male-chorus  arrangements  of  Welsh  and  Scotch 

folk-songs,  and  the  male  choruses  '  Dem  Kaiser ' 

and  'Vom  Rhein.' 

BRUENING,  HANS  (b.  1868).  See  Reg- 
ister, 8. 

BRUENNER,  LEOPOLD  (b.  1869).  See 
Register,  7. 

BRUNDAGE,  RUTH.  See  Colleges,  3 
(Wilmington  C,  Ohio). 

'The  statement  in  Vol.  v.  620,  that  'he  died  in 
Vienna,  Sept.  17,  1907,'  should  have  been  entered 
under  the  name  of  Ignaz  BriUl, 


BRUNE,  ADOLF  GERHARD  (June  21. 
1870,  Baccimi,  Germany),  first  studied  with 
his  father.  From  1887  he  took  the  regular 
course  at  the  Teachers'  Seminary  in  Osna- 
briick,  and  in  addition  kept  up  studies  in  piano, 
violin  and  clarinet.  In  1889-94  he  was 
organist  at  Peoria,  111.  Since  1894  he  has  been 
in  Chicago,  from  1898  to  1917  as  teacher  of 
piano  and  theory  at  the  Chicago  Musical 
College.  At  the  start  of  his  Chicago  career  he 
worked  with  Liebling  and  he  also  had  advice 
from  Ziehn  in  composition.  Concert-playing 
was  given  up  in  favor  of  teaching  and  com- 
posing. His  list  of  compositions  now  extends 
to  op.  76.  The  Ballade  in  E  minor  for  piano, 
op.  2,  and  the  Ballade  in  F,  op.  11,  are 
published  by  Leuckart,  while  Schott  &  Sons 
have  published  the  Sonata  in  D  minor  for 
piano  and  violin,  which  has  been  praised  for 
harmonic  richness  and  contrapuntal  skUl. 
The  string-quartet,  op.  5,  has  been  played 
by  the  Spiering,iPhiladelphia  and  Flonzaley 
Quartets,  and  movements  from  the  string- 
quartets,  opp.  26  and  38,  by  the  Chicago  and 
Kneisel  Quartets.  The  '  Lied  des  Singschwans,' 
a  symphonic  poem  for  large  orchestra,  has 
been  given  by  the  Chicago  Orchestra  under 
Stock ;  '  Ein  Dammerungsbild '  was  intro- 
duced by  Kunwald  and  the  Cincinnati  Orches- 
tra in  1917;  and  the  'Overture  to  a  Drama* 
was  brought  forward  by  Stock.  Many  of 
his  songs,  organ-pieces  and  choral  works 
have  been  heard  in  public,  though  not  yet 
published.  A  fuller  list  of  works  is  given  in 
Baker,  Did.  of  Musicians,  p.  124.     [  R.7  ] 

BRUNER,  MINNIE  C,  nee  Brown  (b. 
1864).     See  Colleges,  3  (Franklin  C,  Ind.). 

BRYANT,  ANNA  G.  See  Colleges,  3 
(Lombard  C,  111.). 

BRYANT,  GILMORE  WARD  (b.  1859). 
See  Register,  7. 

BUCHHALTER,  SIMON  (b.  1881).  See 
Register,  9. 

BUCK,  DUDLEY  (Mar.  10,  1839,  Hart- 
ford, Conn.  :  Oct.  6,  1909,  Orange,  N.  J.). 
See  article  in  Vol.  i.  413-4.  Buck's  career, 
becoming  established  just  when  and  as  it  did, 
exerted  an  important  formative  impression 
on  American  development.  He  had  solid  mu- 
sicianship as  organist  and  composer,  com- 
bined with  the  wisdom  and  tact  required 
to  win  and  hold  popular  appreciation. 
Much  of  his  early  work  as  organ-recitalist 
was  educational  in  much  the  same  way 
as  that  of  Thomas  when  on  his  early  or- 
chestral tours.  For  a  long  time  he  exerted  a 
profound  influence  upon  choir-music,  espe- 
cially as  the  American  exaltation  of  the  quartet- 
choir  fell  in  with  his  own  predilections.  In 
this  field  what  he  set  out  to  do  was  extraor- 
dinarily well  done.  Regarding  his  choral 
works  it  is  fair  to  point  out  his  fine  sympathy 


DUDLEY  BUCK 


BUCK 


BURLEIGH 


147 


with  his  texts  and  the  versatility  with  which 
he  secured  expression.  He  was  the  direct  in- 
spiration of  many  pupils,  but  he  was  also  an 
indirect  educator  of  the  public  taste.     [  R.5  ] 

BUCK,  DUDLEY,  Jr.  (b.  1869).  See 
Register,  8. 

tBUCK,  PERCY  CARTER  (Mar.  25, 
1871,  West  Ham,  England).  See  article  in 
Vol.  V.  620.  Besides  the  positions  at  Har- 
row and  Dublin  there  mentioned,  which  he 
still  holds,  he  has  been  president  of  the 
Royal  College  of  Organists  and  of  the  Union 
of  Graduates  in  Music.  He  has  published 
Ten  Years  of  University  Music  at  Oxford, 
1894  (with  Mee  and  Woods),  Unfigured  Har- 
mony, 1911,  The  Organ:  a  Complete  Method, 
other  instruction-books  and  The  Oxford  Song 
Book. 

BUEHRER,  GEOFFREY  CARL  (b.  1878). 
See  Register,  9. 

BUHLIG,  RICHARD  (b.  1880).  See  Reg- 
ister, 9. 

BUHRMANN,  THOMAS  SCOTT  GOD- 
FREY (b.  1887).     See  Register,  9. 

BULL,  OLE  BORNEMANN  (Feb.  5,  1810, 
Bergen,  Norway  :  Aug.  17,  1880,  Lyso6n, 
near  Bergen).  See  article  in  Vol.  i.  418-9.  His 
first  concert  in  America  was  on  Nov.  23,  1843. 
The  first  tour  included  Havana  as  well  as  the 
eastern  United  States.  It  lasted  nearly  two 
years,  the  concerts  numbered  over  200  and  the 
receipts  were  about  $400,000.  His  second 
trip  was  in  1852,  and  it  was  then  that  he  made 
the  ill-fated  purchase  of  the  tract  in  Pennsyl- 
vania which  he  named  Oleana,  hoping  'to 
found  a  New  Norway,  consecrated  to  freedom, 
baptized  in  independence,  and  protected  by 
the  mighty  flag  of  the  Union.'  On  this  trip 
he  went  to  California,  via  Panama,  and 
his  fellow-travelers  were  Adelina  Patti  and 
Maurice  Strakosch.  For  about  two  months 
early  in  1855  he  was  lessee  of  the  Academy  of 
Music  in  New  York,  and  offered  a  prize  of 
$1000  for  '  a  grand  opera  by  an  American  com- 
poser on  an  American  subject.'  After  the 
collapse  of  the  colony-scheme  and  the  ensuing 
litigation  he  returned  to  Bergen  in  the  autumn 
of  1857.  In  1867  came  his  third  trip,  in  which 
the  first  concert  was  in  Chicago.  In  1868  he 
married  Sara  Chapman  Thorp  in  Wisconsin. 
[She  wrote  his  biography,  Ole  Bull  —  A 
Memoir,  1883,  and  died  on  Jan.  18,  1911,  at 
Cambridge,  Mass.]  After  spending  the  sum- 
mer of  1872  in  Norway,  in  the  autimin  he  re- 
turned for  the  fourth  time.  This  trip  was 
but  one  year  in  duration.  His  last  tour  was 
in  1879-80,  with  Emma  Thursby.  See 
biography  by  Vik,  Bergen,  1890.     [  R.4  ] 

BULL,  WILLIAM  (1762-1842).  See  Tune- 
Books,  1813. 

BULLARD,  FREDERICK  FIELD  (Sept. 
21,   1864,   Boston   :    June  24,  1904,  Boston), 


was  first  a  student  of  chemistry  at  the 
Massachusetts  Institute  of  Technology,  but 
left  to  study  music  with  Rheinberger  at 
Munich  in  1888-92.  Returning  to  Boston) 
he  lived  there  as  teacher  of  harmony  and 
counterpoint  and  composer.  Of  his  forty 
published  songs  the  best-known  are  'In  the 
Greenwood,'  'A  June  Lullaby,'  'From  Dreams 
of  Thee,'  'At  Daybreak,'  'Hymn  of  Pan,' 
'On  the  Way,'  'The  Sword  of  Ferrara,'  'The 
Singer,'  'The  Hermit'  and  'The  Stein  Song.' 
He  also  published  church-music,  choruses 
for  men's  voices  and  edited  song-collections. 
See  Hughes,  Contemporary  American  Com- 
posers, pp.  351-7.     [  R.8  ] 

BULLOCK,  ARTEMAS  ERWIN.  See 
Colleges,  3  (Ellsworth  C,  Iowa). 

BULLOCK,  WILLIAM.  See  Tune-Books, 
1854. 

BUONAMICI,  CARLO  (b.  1875).  See  Reg- 
ister, 9. 

BURDETT,  GEORGE  ALBERT  (b.  1856). 
See^Register,  7. 

BUREAU  OF  EDUCATION,  THE,  which 
is  a  division  of  the  Interior  Department  of  the 
National  Government,  has  shown  its  interest 
in  the  promotion  of  music  in  public  institutions 
by  the  issue  of  Bulletins  on  'The  Study  of 
Music  in  Public  Schools,'  1886,  'Music- 
Education  in  the  United  States,'  by  Arthur 
L.  Manchester,  1908,  and  '  Music  in  the  Public 
Schools,'  by  Will  Earhart,  1914.  Another, 
on  the  Music-LibrariesJ  of  the  coimtry,  is  al- 
most ready.     * 

BURLEIGH,  CECIL  (Apr.  17,  1885,  Wyo- 
ming, N.  Y.),  after  preliminary  violin- 
study  with  L.  E.  Hersey  in  Bloomington, 
111.,  in  1903-05  was  in  Berlin,  studying  violin 
with  Witek  and  composition  with  Leichtentritt. 
Two  years  were  then  spent  in  Chicago,  where 
his  teachers  were  Sauret  and  Herrmann  for 
violin  and  Borowski  for  composition.  Then 
came  two  years  of  concert-work  and  two  of 
violin-teaching  at  the  Western  Institute  of 
Music  and  Dramatic  Art  in  Denver.  He 
taught  violin  and  theory  at  Morningside 
College  in  Sioux  City,  la.,  in  1911-14,  and 
at  the  State  University  at  Missoula,  Mont.,  in 
1914-19.  In  the  summer  of  1919  he  was 
with  Auer  and  in  the  autumn  located  in  New 
York  as  player  and  teacher.  His  interest  in 
composition  began  about  1901,  but  was  not 
specially  manifest  until  about  1910.  Since  then 
he  has  been  diligent  and  his  works  have  met 
with  unusual  success.  His  violin-concerto 
in  E  minor  (prize  for  a  violin-concerto  by  an 
American,  Chicago,  1916)  he  played  with 
the  American  Symphony  Orchestra  in  Chicago 
on  Mar.  2,  1916,  and  later  with  the  Minneap- 
olis, Milwaukee  and  other  Orchestras,  besides 
being  brought  forward  by  Maud  Powell.  The 
'Song  of  the  Brook'  has  been  much  used  by 


148 


BURLEIGH 


BURROWES 


Galli-Curci,  and  'What  does  little  Birdie  say' 
by  McCormack.  The  'Ascension'  sonata  has 
been  played  by  David  and  Clara  Mannes 
and  others.     His  list  of  works  is  as  follows : 

Two  Fancies,  op.  5,  for  piano  (Summy). 

Eight  Characteristic  Pieces,  op.  6,  for  violin  and 

piano  (Wood). 
'The  Letter,'  a  song,  op.  8  (Pond). 
'Coasting,'  op.  9,  for  piano  (Presser). 
'Childhood  Fancies,' op.  10,  for  piano  (Schirmer). 
Four  Rocliy  Mountain  Sketches,  op.  11  (Schirmer). 
'Scherzando  Fantastique',  op.  12  (Carl  Fischer). 
Four  Prairie  Sketches,  op.  13  (Schirmer). 
Five  Sketches,  op.  14  (Schirmer). 
'Snow-Bound,'  a  Winter  Idyl,  op.  15,  after  Whittier 

(Schirmer). 
Six  Winter-Evening  Tales,  op.  16  (Schirmer). 
Five  Tone-Poems,  op.  17  (Schirmer). 
Twelve  Short  Poems,  op.   18  (Ditson). 
Eight  Concert-Studies,  op.  19,  for  violin  and  piano. 
'Skeleton    Dance,'    op.    20,    for    violin   and   piano 

(Schirmer). 
Four  Small  Concert-Pieces,  op.  21  (Schirmer). 
Sonata,   'The  Ascension,'   op.   22,  for  violin  and 

piano  (Schirmer). 
Six  'Nature  Studies,'  op.  23,  for  violin  and  piano 

(Fischer). 
Five  Characteristic  Pieces,  op.  24  (Ditson). 
Concerto  in  E  minor,  op.  25,  for  violin  and  or- 
chestra (Summy). 
Three  Pieces,  op.  26,  for  piano  (Ditson). 
'Sonnets  of  Autumn,'  op.  27,  seven  piano-pieces 

(Ditson). 
'Fairyland  Cycle,'  op.  28,  five  songs. 
Sonata,  on  the  Life  of  St.  Paul,  op.  29,  for  violin 

and  piano  (Schirmer). 
Six  Pictures,  op.  30  (Fischer). 
Six  Fancies,  op.  31,  for  violin  and  piano  (Boston 

Music  Co.). 
Five  Songs,  op.  32  (Ditson). 
Seven  Songs,  op.  33  (Fischer). 
Fantastic  Suite,  'Jack  and  the  Bean-stalk,'  op.  35, 

for  violin  and  piano. 
Plantation  Sketches,  op.  36,  for  violin  and  piano 

(Fischer). 
'To  a  River,'  op.  37,  song  (Schirmer). 
Foiir  Fancies,  op.  38  (Schirmer). 
'Evangeline,'    op.    41,    a    tone-poem    for    full    or- 
chestra, after  Longfellow. 
Three  Mountain  Pictures,  op.  42,  for  full  orchestra. 
Second  Concerto,  op.  43,  for  violin  and  orchestra 

or  piano  (Fischer). 
'Nature's  Voices,'  op.  44,  four  pieces  for  violin  and 

piano. 
Two  Songs,  op.  45,  from  Lowell  (Schirmer). 
Two  Songs,  op.  46  (Church). 
Three  Songs,  op.  47  (Ditson). 
'Songs  of  Nature,'  op.  49  (Church). 
Seven  Idyls  in  Song,  op.  50.  [  R.9  ] 

BURLEIGH,  HENRY  THACKER  (b. 
1866).     See  Register,  7. 

BURLIN,  NATALIE,  nee  Curtis,  is  a 
niece  of  George  William  Curtis.  She  was 
born  in  New  York  and  studied  in  the  Na- 
tional Conservatory  there  with  Friedheim, 
as  well  as  in  Berlin,  Paris,  Bonn  andBayreuth. 
She  hag  made  extensive  original  studies  of  the 
music,  lore  and  pictorial  art  of  the  American 
Indians,  and  of  music  among  the  Negroes  of 
America  and  among  the  Ndaus  and  Zulus  in 


Africa.  She  has  published  Songs  of  Ancient 
America,  1905,  The  Indian's  Book  (200  songs 
from  18  tribes),  1907,  Negro  Folk-Songs,  4  vols., 
1918,  and  African  Folk-Songs.  She  has  also 
lectured  often  and  written  many  articles  for 
magazines.  In  1917  she  married  the  painter 
Paul  Burlin.     [  R.9  ] 

BURMEISTER,  RICHARD  (Dec.  7,  1860, 
Hamburg,  Germany),  had  the  privilege  of 
study  and  association  with  Liszt  in  1880-83 
at  Weimar,  Rome  and  Budapest.  Till  1885 
he  traveled  in  Europe  as  pianist,  and  then 
came  to  America  as  chief  piano-instructor 
in  the  Peabody  Conservatory  in  Baltimore. 
His  twelve  years'  work  there  was  broken  in 
1893  by  a  concert-tour  in  Europe.  In  1897 
he  became  director  of  the  Scharwenka  Con- 
servatory in  New  York.  Since  1903  he  has 
taught  abroad,  till  1906  in  the  Dresden  Con- 
servatory and  since  1907  in  the  Klindworth- 
Scharwenka  Conservatory  in  Berlin.  His 
compositions  are  a  piano-cbncerto  in  D  minor, 
op.  1 ;  a  symphonic  fantasy,  '  Die  Jagd  nach 
dem  Gliick, '  op.  2 ;  Cadenza  to  Chopin's  F 
minor  Concerto,  op.  3 ;  three  songs,  op.  4 ; 
Capriccio  for  piano,  op.  5 ;  a  setting  of  Tenny- 
son's 'The  Sisters,'  for  alto  with  orchestra;  a 
Romanza  for  violin  and  orchestra ;  and  piano- 
transcriptions  of  songs.  He  has  rescored 
Chopin's  Concerto  in  F  minor  and  arranged 
an  orchestral  accompaniment  for  Liszt's 
'Pathetic'  Concerto.     [  R.7  ] 

BURNHAM,  THUEL  (b.  1884).  See  Reg- 
ister, 9. 

BURR,  WILLARD,  Jr.  (b.  1852).  See 
Register,  7. 

BURROWES,  KATHARINE  (Kingston, 
Ont.),  has  devoted  herself  to  improving 
teaching-methods  for  children.  In  her  first 
teaching  in  Detroit  she  made  a  specialty  of 
the  primary  grades.  After  six  years'  study 
with  Batchelder,  in  1895  she  entered  the 
faculty  of  the  Detroit  Conservatory.  Later 
she  studied  for  a  time  with  Klindworth  in 
Berlin.  In  1903  she  founded  the  Burrowes 
Piano  School.  Her  copyrighted  Course  of 
Music-Study  involves  the  use  of  songs,  stories, 
games,  charts  and  mechanical  devices,  be- 
sides printed  music  and  the  piano.  It  has 
been  gradually  developed  to  produce  an  all- 
round  musical  education  for  children.  She 
has  provided  many  other  aids  for  teaching 
primary  music  and  has  composed  much  music 
for  children.  She  has  published  The  Burrowes 
Course  of  Music-Study  for  Beginners  (kinder- 
garten and  primary),  1895,  Manual  for  Teachers, 
1901,  The  Note-Gatherers,  1903,  Musical  Puz- 
zle-Stories, 1905,  New  Manual  for  Teachers 
1910,  Tales  of  the  Great  Composers,  1911,  New 
Musical  Note-Gatherers,  1915,  and  The  New 
Success  Music-Method,  1917.  She  has  also  con- 
tributed to  musical  magazines.    [  R.8  ] 


BURTON 


BUTLER 


149 


BURTON,  FREDERICK  RUSSELL  (Feb. 
23,  1861,  Jonesville,  Mich.  :  Sept.  30,  1909, 
Lake  Hopatcong,  N.  J.),  was  graduated  from 
Harvard  in  1882  summa  cum  laude  and  with 
highest  honors  in  music.  While  there  he 
wrote  music  for  'Hiawatha,'  a  favorite  legend 
with  him  from  childhood.  This  setting,  no- 
table as  one  of  the  first  attempts  to  use  In- 
dian themes,  was  sung  at  a  glee-club  concert 
in  1882,  completed  as  a  dramatic  cantata  and 
published  in  1898.  He  undertook  an  intimate 
study  of  Indian  music  in  Canada  and  the 
United  States,  spending  much  of  his  time  and 
means,  and  living  among  the  Indians  for  long 
periods.  In  1903  he  published  (Songs  of  the 
Ojihway  hidians,  later  expanded  into  the 
masterly  treatise  American  Primitive  Music 
(containing  28  Ojibway  songs)  and  pub- 
lished in  1909,  just  after  his  death.  In  1896 
he  organized  and  conducted  a  choral  society 
at  Yonkers,  N.  Y.  For  some  years  he  wrote 
musical  criticisms  for  the  New  York  'Sun.' 
Other  compositions  are  'The  Legend  of 
Sleepy  Hollow'  (1900),  an  'Inauguration  Ode' 
(1901)  for  the  second  inauguration  of  Presi- 
dent McKinley,  and  various  songs  and  choruses. 
He  also  wrote  the  novels  The  Song  and  the 
Singer,  Her  Wedding  Interlude,  Shifting  Sands, 
and  Strongheart.     [  R.7  ] 

BUSCH,  CARL  (Mar.  29,  1862,  Bjerre, 
Denmark),  first  entered  the  University  of 
Copenhagen  as  a  law-student,  but  the  appeal 
of  music  soon  led  to  study  with  Olavesen, 
Krugel  and  Langgaard  and  then  to  taking 
violin  with  Tofte  at  the  Conservatory,  piano 
with  Bondesen  and  theory  with  Hartmann 
and  Gade.  During  a  three  years'  course  he 
played  under  Gade  in  the  Musical  Society, 
Svendsen  in  the  Philharmonic  and  Dahl  in  the 
Tivoli  Orchestra.  By  way  of  Brussels,  in 
1886  he  went  to  Paris,  playing  and  studying 
under  Godard.  In  1887  he  came  to  Kansas 
City,  where  for  over  thirty  years  he  has  con- 
ferred prestige  upon  the  city  by  many  useful 
undertakings.  He  formed  the  Orchestral 
Society  and  conducted  it  for  five  years,  and 
its  successor,  the  Philharmonic,  which  em- 
phasized Scandinavian  works  in  a  long  series 
of   Sunday   concerts.     Several   festivals   were 


under  his  direction.  Since  1912  he  has  led  the 
Symphony  Orchestra,  and  is  active  in  choral 
and  church-music.  As  guest-conductor  he  has 
given  his  own  works  with  various  American 
orchestras,  and  also  in  Leipzig,  Dresden  and 
Copenhagen.  He  is  a  naturalized  citizen  here, 
but  was  knighted  in  1912  by  the  Danish  gov- 
ernment in  recognition  of  his  services  to  Scan- 
dinavian music.  As  composer  he  has  become 
widely  known.     His  list  of  works  includes 

'The   Passing  of  Arthur,'   a  symphonic  prologue 

after  Tennyson  (Breitkopf). 
'Minnehaha's  Vision,'  a  symphonic  poem  (Ditson). 
'Elegy,'  for  string-orchestra   (Breitkopf). 
Cantatas : 

'The  League  of  the  Alps'  (Ditson). 

'King  Olaf  (Ditson). 

'Paul  Revere's  Ride'  (Ditson). 

'A  Song  of  Spring'  (Ditson). 

'  The  Four  Winds '  (Gray)  —  prize  at  Philadelphia. 

'The  American  Flag'  (Gray). 

'May,'  for  children's  voices  and  orchestra  (Gray) 
—  prize  at  Evanston  Festival. 

'The  Brown  Heather,'  for  men's  chorus  and  or- 
chestra (Gray). 

'The  Voice  of  Spring'   (Luckhardt  &  Belder). 

'America'  (Boston  Music  Co.)  —  prize  at  New 
Jersey  Tri-City  Festival. 

'Quivera'  —  prize  at  Topeka  Festival. 

'  The    Song  of   a    Star '  —  prize   from  Brooklyn 
Arion. 

'Alexander's  Feast,'  for  men's  chorus  —  prize  at 
Pittsbiu-gh. 

'  Ode  to  Breckinridge '  —  prize  at  Lexington,  Ky. 

'Denmark's  Day.' 

'The  Fourth  of  July.' 

'Ode  to  France.' 
About  20  choruses  and  anthems,  and  over  40  songs 

and  many  violin-pieces  (above  publishers). 
Symphony  in  C. 
String-Quartet. 
Two  Suites  for  orchestra. 
'When   the   Heart   is   Young'   and    'The   Day   is 

Done '  —  prizes  from  the  Chicago  Madrigal  Club. 

Busch  is  a  Longfellow  enthusiast  and  has 
set  many  of  his  poems.  He  has  also  delved 
much  into  Negro  and  Indian  music,  as  shown 
by  themes  in  his  suites,  songs  and  other  works. 
[  R.7  1 

BUSHNELL,  J.     See  Tune-Books,  1807. 

BUTCHER,  FRANK  CHARLES  (b.l882). 
See  Register,  9. 

BUTLER,  HAROLD  LANCASTER  (b. 
1874).     See  Register,  8. 


c 


CABLE  COMPANY,  THE,  of  Chicago, 
includes  the  piano-making  enterprises  pre- 
viously carried  on  under  the  names  Cable, 
Conover,  Kingsbury  and  Wellington.  Its 
capital  is  over  $6,000,000,  and  it  occupies 
its  own  building  on  Wabash  Avenue  and 
Jackson  Boulevard.  Its  special  automatic 
device  is  known  as  the  '  Carola  Inner-Player.' 

CADEK,  JOSEPH  OTTOKAR  (b.  1868). 
See  Register,  8. 

CADMAN,  CHARLES  WAKEFIELD 
(Dec.  24,  1881,  Johnstown,  Pa.),  acquired  his 
musical  education  entirely  in  Pittsburgh,  with 
Edwin  Walker,  Leo  Oehmler,  W.  K.  Steiner 
and  Luigi  von  Kunits.  In  1904-10  Paur 
gave  him  valuable  assistance.  Aside  from 
composition,  he  was  engaged  in  piano-teaching, 
writing  criticisms  for  the  'Dispatch'  and  as 
organist  at  the  East  Liberty  Presbyterian 
Church  till  1910,  when  he  removed  to  Los 
Angeles,  where  he  has  been  busy  with  com- 
posing and  lecture-recitals.  His  well-known 
interest  in  the  music  of  the  American  Indians 
dates  from  1906,  when  he  first  came  to  know 
the  ethnological  studies  of  Miss  Fletcher 
and  La  Flesche.  The  results  of  his  early  ex- 
periments were  embodied  in  four  'American 
Indian  Songs,'  op.  45  (1908),  of  which  'The 
Land  of  the  Sky-blue  Water'  was  made 
popular  by  Nordica.  He  spent  the  summer 
of  1909  on  the  Omaha  and  Winnebago  Reser- 
vations with  La  Flesche,  gathering  material 
by  phonograph-records  and  otherwise.  An 
immediate  result  was  the  'American  Indian 
Music-Talk,'  which  he  has  given  often  in 
America,  as  well  as  in  Paris  and  London  in 
1910.  In  recent  years  the  Indian  mezzo- 
soprano  Princess  Tsianina  Redfeather  has 
acted  as  his  vocal  illustrator.  The  culmina- 
tion of  his  use  of  Indian  themes  is  found  in 
the  three-act  opera  'The  Land  of  Misty 
Water'  (or  'Daoma'),  begun  in  Pittsburgh 
in  1909  and  finished  in  Colorado  in  1912, 
libretto  by  La  Flesche  and  Mrs.  Eberhart; 
the  opera  '  Shanewis '  (or '  The  Robin-Woman ') , 
libretto  by  Mrs.  Eberhart ;  and  the  '  Thunder- 
bird'  orchestral  suite,  based  on  Blackfeet 
Indian  melodies.  The  last  has  been  played 
by  the  Russian,  Kansas  City  and  Los  Angeles 
Orchestras,  and  is  to  be  published  by  Boosey. 
His  first  opera  has  not  yet  been  performed, 
but  'Shanewis'  was  given  five  times  at  the 
Metropolitan  Opera  House  in  1918  and  three 
times  in  1919.  Of  it  Finck  said  in  the  'Eve- 
ning Post,'  'At  last  the  Metropohtan  has  a 
novelty  of  American  origin  which  is  worth 
preserving  for  future  seasons'  ;  Henderson 
in  the  'Sun,'  '  He  has  shown  greater  command 
in  the  technic  of  opera  than  any  of  his  pre- 


decessors at  this  opera-house ' ;  and  Chase 
in  the  'Times,'  'A  more  concise,  telling  series 
of  incidents  has  not  been  seen  nor  heard  in 
grand  opera.'  His  theories  about  using 
Indian  themes  are  thus  stated  in  an  article 
in  'The  Musical  Quarterly,'  July,  1915 : 

'Only  one-fifth  of  all  Indian  thematic  material  is 
valuable  in  the  hands  of  a  composer  —  ia  suitable 
for  harmonic  investment.  It  becomes  necessary  to 
choose  an  Indian  song  or  chant  that  is  attractive  in 
its  simplicity,  one  that  will  stand  alone  by  virtue  of 
its  inherent  melodic  line,  and  is  fairly  good  in  sym- 
metry ;  otherwise  the  idealizer  is  confronted  with 
a  formidable  problem.  When  found,  these  themes 
are  pure  gold.  And  they  exist,  certain  critics  to  the 
contrary  notwithstanding.' 

The  catalogue  of  his  published  compositions 
and  arrangements  (1919)  forms  a  30-page 
booklet.  It  hsts  77  secular  and  6  sacred 
songs ;  the  song-cycles  '  Four  American  Indian 
Songs,'  op.  45,  'From  Wigwam  and  Tepee,' 
op.  57,  four  songs  on  tribal  melodies,  and 
'Idyls  of  the  South  Sea,'  op.  55;  the  Japanese 
Romance  'Sayonara,'  op.  49;  'Three  Songs 
to  Odysseus,'  op.  50;  the  song-cycle  'The 
Morning  of  the  Year,'  op.  46,  for  four  solo 
voices;  the  cantata  for  male  voices,  'The 
Vision  of  Sir  Launf al ' ;  and  many  part-songs 
for  men's,  women's  or  mixed  voices.  There 
is  a  long  list  of  piano-pieces ;  several  cj'^cles 
for  piano,  including  the  'Idealized  Indian 
Themes,'  op.  54;  and  many  original  com- 
positions and  arrangements  for  organ,  violin 
and  piano,  etc.  The  outstanding  instrumental 
compositions  are  the  Sonata  in  A,  op.  58,  for 
piano,  and  the  Trio  in  D,  op.  56,  for  violin, 
'cello  and  piano  (both  White-Smith).  Of  the 
latter  The  Art  of  Music  says :  '  The  leading 
characteristics  are  melodic  spontaneity  and 
freshness  of  musical  impulse.  Everywhere 
are  buoyancy,  directness  of  expression,  motion, 
but  little  of  thematic  involution  or  harmonic 
or  formal  sophistication.  It  is  the  trio  of 
a  lyrist ;  from  the  standpoint  of  modern 
chamber-music  it  might  be  called  naive,  but 
the  strength,  sincerity  and  beauty  of  its 
melodies  claim,  and  sometimes  compel,  one's 
attention.'  In  manuscript  (1919)  is  the  one- 
act  opera  'The  Garden  of  Mystery,'  libretto 
by  Mrs.  Eberhart,  based  on  Hawthorne's 
story  of 'Rappaccini's  Daughter.'     [  R.9  ] 

CADY,  CALVIN  BRAINERD  (June  21, 
1851,  Barry,  111.),  had  his  first  training  at 
Oberlin,  where  he  also  taught  in  the  public 
schools  in  1871-72.  In  1872-74  he  was  at 
the  Leipzig  Conservatory,  where  his  teachers 
were  Richter,  Papperitz  and  Paul.  Returning 
to  Oberlin,  he  taught  harmony  and  piano  at 
the  Conservatory  in  1874-79.  His  ambition 
was  to  see  music  given  recognition  in  college 


150 


CHARLES  WAKEFIELD  CADMAN 


CAHOON 


CAMPANINI 


151 


education.  So  in  1880  he  gladly  accepted 
a  call  to  the  University  of  Michigan,  where, 
perhaps  for  the  first  time,  music  became 
eligible  as  a  major  subject  for  the  A.B.  and 
A.M.  degrees.  To  lead  up  to  such  courses, 
music  was  also  made  a  major  in  the  Ann 
Arbor  high  school,  then  a  special  preparatory 
school  for  the  University,  and  thus  this  high 
school  was  about  twenty-five  years  in  advance 
of  the  present  widespread  movement.  A 
careful  study  of  the  work  done  by  his  students 
convinced  him  that  it  raised  problems  about 
the  primal  education  of  the  child.  This  led 
to  his  present  work,  carried  on  under  the  name 
'Muf?ic-Education,'  with  the  motto  from 
D'Israeli,  'Music  teaches  most  exquisitely 
the  art  of  development.'  The  Music-Edu- 
cation School  in  Portland,  Ore.,  was  founded 
in  1913,  and  has  steadily  grown  in  numbers 
and  influence.  In  it  music  is  only  one  of  the 
subjects,  of  equal  value  with,  but  no  more  than 
any  other  subject.  In  1888-94  he  taught  in 
the  Chicago  Conservatory,  and  in  1892-94  was 
editor  of  'The  Music  Review.'  In  1901-07  he 
was  in  Boston  as  private  teacher ;  in  1907-10 
he  lectured  in  the  music-extension  department 
of  Teachers  College  (Colimibia  University)  in 
New  York;  in  1908-13  he  was  lecturer  on 
pedagogy  in  the  Institute  of  Musical  Art  there. 
For  many  years  he  has  conducted  summer  nor- 
mal courses  in  the  larger  cities  of  the  country. 
He  is  author  of  Music  Education,  3  vols., 
1902-07,  and  articles  in  the  Encyclopedia  of 
Education  and  magazines.     [  R.6  ] 

CAHOON,  HELEN  FOUTS.  See  Col- 
leges, 3  (Texas  Christian  U.). 

CAIN,  LLEWELLYN  B.  (b.  1867).  See 
Colleges,  3  (Whitman  C,  Wash.). 

CALZIN,  ALFRED  LUCIEN  (b.  1885). 
See  Register,  9. 

CAMP,  JOHN  SPENCER  (Jan.  30,  1858, 
Middletown,  Conn.),  graduated  from  Wesleyan 
University  in  1878  and  took  a  post-graduate 
year  in  Latin,  besides  some  law-study.  His 
training  in  piano  and  harmony  was  with  E.  A. 
Parsons  in  New  Haven,  in  organ  with  Shelley, 
Buck  and  S.  P.  Warren,  and  in  theory  and 
composition  with  Buck  and  Dvordk.  His  chief 
engagements  as  organist  have  been  in  1882- 
1906  at  the  Park  Congregational  Church  in 
Hartford  and  at  the  First  (Congregational) 
Church  there  in  1906-18.  In  1902-11  he 
was  conductor  of  the  Hartford  Philharmonic 
Orchestra  (50  players),  bringing  out  both 
standard  and  new  works  of  importance,  and 
retiring  because  of  ill-health.  He  was  one 
of  the  founders  of  the  A.  G.  O.  in  1896  and 
served  for  several  years  on  its  Council.  He 
has  given  many  organ-recitals  and  musical 
lectures.  From  1890  he  was  active  in  the 
Connecticut  Music  Teachers'  Association 
and   was  its  president  in    1898.     For  many 


years  he  has  been  treasurer  of  the  Austin 
Organ  Company  in  Hartford.  He  has  pub- 
lished the  cantatas  'The  Morning  Star' 
(Christmas),  'The  Prince  of  Peace'  (Christ- 
mas) and  '  The  Prince  of  Life '  (Easter) ; 
'The  Song  of  the  Winds,'  for  soli,  chorus  and 
orchestra ;  '  God  is  our  Refuge '  (Psalm  46) , 
for  soli,  chorus  and  orchestra;  anthems, 
songs  and  piano-pieces.  He  has  also  an 
overture,  'Der  Zeitgeist';  a  'Pilgrim'  Suite 
for  orchestra,  in  three  movements,  based 
on  Bunyan's  allegory ;  a  string-quartet  in  G  ; 
'Chant  d'Amour'  and  'Spring-Song'  for  or- 
chestra; a  Romanza  and  Serenade  for  violin, 
'cello  and  piano  ;  a  Romanza-Fantasia  for  'cello 
and  small  orchestra ;  and  a  small  suite  for 
violin  and  piano.     [  R.7  ] 

CAMPANARI,  GIUSEPPE  (Nov.  17,  1858, 
Venice,  Italy),  having  been  first  trained  as 
a  'cellist,  was  for  some  years  in  the  orchestra 
at  La  Scala  in  Milan.  His  first  engagement 
in  America  in  1884  was  as  'cellist  in  the  Boston 
Symphony  Orchestra.  In  1888-90  he  also 
played  in  the  Adamowski  Quartet.  He  had 
been  studying  singing  meanwhile,  and  in  1893 
made  his  debut  as  leading  baritone  of  Hinrichs' 
Opera  Company  in  New  York.  He  sang  Tonio 
in  the  first  American  performance  of  'I  Pagli- 
acci '  during  his  first  season,  and  proved  equally 
successful  in  both  opera  and  concert.  From 
1895  for  three  seasons  he  was  engaged  at  the 
Metropolitan  Opera  House.  Since  then  he 
has  devoted  himself  largely  to  concert-work 
and  teaching.     [  R.7  ] 

CAMPANARI,  LEANDRO  (b.  1857). 
See  Register,  7. 

CAMPANINI,  CLEOFONTE  (Sept.  1. 
1860,  Parma,  Italy  :  Dec.  19,  1919,  Chicago), 
in  1870-78  studied  violin  with  Ferrarini  in 
Parma  and  later  with  Bazzini  in  Milan.  In 
1883  he  made  his  debut  at  Parma  as  conductor 
in  'Carmen,'  and  the  same  year  was  assistant- 
conductor  to  Vianesi  at  the  Metropolitan 
Opera  House  in  New  York.  In  1887  he 
returned  to  the  Metropolitan  to  conduct  the 
first  American  performance  of  'Otello.'  He 
conducted  at  Covent  Garden  in  London  in 
1900-12,  at  La  Scala  in  Milan  in  1903-06,  and 
at  San  Carlo  in  Naples  for  one  year.  He  also 
made  extensive  tours  in  Spain,  Portugal  and 
South  America.  In  1906  he  was  engaged  by 
Hammerstein  as  conductor  and  artistic  di- 
rector of  the  Manhattan  Opera  House  in  New 
York,  where  he  remained  until  differences  of 
opinion  led  to  his  resignation  in  1909.  At 
that  time  De  Koven,  writing  in  the  New 
York  'World'  of  his  popularity  and  influence, 
said,  'Campanini  is  one  of  the  best  operatic 
conductors  that  we  have  ever  had  in  New 
York.  His  authority,  his  wide  artistic  sym- 
pathies, his  untiring  energy  and  faithful  care 
in  the  study  and  rehearsal  and  rare  interpre- 


152 


CAMPANINI 


GARDEN 


tative  grasp  of  a  composer's  meaning,  as  well 
as  his  absolute  control  of  his  orchestra  in  all 
the  varying  shades  of  orchestral  expression 
stamp  him  as  a  conductor  of  the  very  first 
rank.'  In  1910,  when  the  Chicago  Opera 
Company  was  organized,  he  became  principal 
conductor  and  in  1913  general  director,  a 
position  held  till  his  death.  He  produced  the 
following  works  for  the  first  time  in  America : 
Massenet's  'Thais,'  'Le  Jongleur  de  N6tre- 
Dame,'  'Griselidis,'  'Sapho,'  'Herodiade,' 
'Cendrillon,'  'Cleopatre'  and  'Marie  Made- 
leine'; Debussy's  'Pelleas  et  Melisande'; 
Charpentier's  'Louise';  Wolf-Ferrari's  'I 
Giojelli  della  Madonna'  and  'II  Segreto  di 
Suzanna';  Parelli's  'I  Dispettosi  Amanti'; 
Goldmark's  'The  Cricket  on  the  Hearth'; 
Camille  Erlanger's  '  Aphrodite ' ;  Frederic 
d'Erlanger's  'Noel';  Kienzl's  'Ranz  des 
Vaches';  Franchetti's  'Cristoforo  Colombo'; 
Gnecchi's  'Cassandra';  Nougu^s'  'Quo 
Vadis?';  Herbert's  'Natoma';  Blockx' 
'  Princesse  d' Auberge ' ;  Saint-Saens ' '  Dej anire ' ; 
Buchhalter's  'A  Lovers'  Knot';  and  Guns- 
bourg's  '  Le  Vieil  Aigle.'  His  sudden  death  was 
due  to  pneumonia.  His  wife,  Eva  (b.  1864), 
the  sister  of  Louisa  Tetrazzini,  was  a  favorite 
operatic  soprano,  but  has  not  been  active  in 
recent  years.     [  R.7  ] 

CAMPANINI,  ITALO  (1846-1896).  See 
Vol.  i.  450,  and  Register,  6. 

CAMPBELL,  CHARLES  DIVEN  (b.l877). 
See  State  Universities  (Ind.). 

CAMPBELL,  FRANCIS  JOSEPH  (1834- 
1914).     See  Register,  4. 

CAMPBELL,  WILLIAM  WILSON  (b. 
1871).  See  Colleges,  3  (Westminster  C,  Pa., 
Trinity  U.,  Tex.). 

CAMPBELL-TIPTON,  LOUIS  (Nov.  21, 
1877,  Chicago),  began  music  spontaneously  as 
a  child,  and  at  fifteen  was  already  publishing 
simple  songs.  In  1S96  he  entered  the  Leipzig 
Conservatory,  where  he  studied  theory  with 
Schreck  and  had  help  from  Reinecke  —  the 
latter  finding  him  rather  an  intractable  and 
independent  pupil.  After  three  years  he  re- 
turned to  America  and  remained  two  years. 
Since  1901  he  has  resided  in  Paris,  where  his 
piano-works  and  songs  have  been  frequently 
heard.  Though  he  has  specialized  in  these 
directions,  he  has  in  manuscript  two  operas, 
orchestral  works,  etc.,  of  which  the  titles  are 
not  yet  available.  He  thinks  that  'the  pros- 
pect is  not  so  hopeless  as  formerly  of  getting 
a  production  for  American  works  of  this 
calibre,'  and  adds  that  he  has  'never  been  fond 
enough  of  work  to  be  ready  to  sacrifice  time 
and  energy  for  the  completion  of  a  large  work, 
where  I  have  seen  no  hope  of  its  ever  being 
made  known.'  His  published  works  include, 
for  violin  and  piano,  a  'Suite  Pastorale' 
(Leuckart) ,  a  '  Romanza  Appassionata '  (Con- 


solidated Music  Co.),  and  a  'Lament'  (Schir- 
mer) ;  for  piano,  a  'Sonata  Heroic'  (Schirmer), 
the  suite  'The  Four  Seasons'  (Leuckart),  two 
'Legends'  (Schirmer),  two  Preludes,  two 
Bagatelles,  a  'Nocturnale'  and  a  'Matinale' 
(Leuckart) ;  and  about  thirty  songs,  including 
'Three  Shadows,'  'A  Spirit-Flower,'  'Four 
Sea-Lyrics,'  'A  Fool's  Soliloquy,'  'Love's  Jes- 
ter,' 'Rhapsodic,'  'Invocation,'  'AIL  the  words 
that  I  gather,'  'The  Opium-Smoker,'  'Mem- 
ory,' 'Love's  Logic,'  'Homeward'  (Schirmer); 
'Elegy,'  'At  the  Tomb'  (Boston  Music  Co.); 
'Hymn  to  the  Night'  (Gray);  Seven  Tone- 
Poems,  'Thou  art  my  All,'  'Serenade,'  'If  I 
were  a  King'  (Consolidated  Music  Co.). 
[  R.  9  ] 

CANADIAN  ACADEMY  OF  MUSIC, 
THE,  of  Toronto,  was  established]  in  1911. 
With  it  in  1918  was  amalgamated  the  Toronto 
College  of  Music,  which  since  1888  had  been 
under  the  leadership  of  the  late  F.  H.  Torring- 
ton.  Thus  was  formed  an  institution  of  excel- 
lent quality,  which  not  only  serves  a  large 
clientele  in  Toronto,  but  has  examination-cen- 
ters throughout  the  Dominion. 

CANADIAN  GUILD  OF  ORGANISTS, 
THE,  founded  in  1909,  is  an  organization 
upon  the  same  lines  as  the  American  Guild  of 
Organists.  The  president  since  the  beginning 
has  been  Albert  Ham  of  Toronto. 

CANDIDUS,  WILLIAM  (b.  1845).  See 
Register,  5. 

'CANTERBURYTILGRIMS.STHE.'  An 
opera  by  Reginald  De  Koven,  first  given  at  the 
Metropolitan  Opera  House  on  Mar.  8,  1917, 
under  Bodanzky's  direction.  The  libretto 
is  by  Percy  Mackaye.  It  was  five  times 
repeated  in  1917. 

CANTU,  AGOSTINHO  (b.  1879).  See 
Register,  9. 

CAPEN,  SAMUEL.  See  Tune-Books,  1805. 
CAPOUL,  JOSEPH  AM:fiD:fiE  VICTOR 
(Feb.  27,  1839,  Toulouse,  France).  See  arti- 
cle in  Vol.  i.  460.  He  first  came  to  America 
in  1873  as  a  member  of  the  Strakosch  troupe 
which  included  Nilsson,  Miss  Gary,  Cam- 
panini  and  Maurel.  In  1879-80  he  toured  the 
country  with  the  French  Op6ra  Bouffe  Com- 
pany. In  1892  he  was  engaged  as  professor 
of  operatic  singing  at  the  National  Con- 
servatory in  New  York.  In  1897  he  became 
stage-manager  at  the  Op6ra  in  Paris.  Since 
his  retirement  from  this  post  he  has  lived  near 
Toulouse  and  is  reported  to  be  writing  his 
memoirs.     [  R.6  ] 

CAPPA,  CARLO  ALBERTO  (b.  1834). 
See  Register,  4. 

CAPRON,  HENRI.     See  Register,  2. 
CARADORI-ALLAN,      MARIA      CATE- 
RINA  (1800-1865).     See  Register,  3. 

GARDEN,  ALLEN  D.  See  Tune-Books, 
1827. 


CAREY 


CARPENTER 


153 


CAREY,  BRUCE  ANDERSON  (b.  1877). 
See  Register,  9. 

CARL,  WILLIAM  CRANE  (Mar.  2,  1865, 
Bloomfield,  N.  J.),  was  first  trained  on  the 
piano  by  his  sister  and  by  Madeline  Schiller. 
His  study  of  organ  and  theory  was  under  S. 
P.  Warren  in  New  York  and  Guilmant  in 
Paris.  In  1882-90  he  was  organist  of  the 
First  Presbyterian  Church  in  Newark,  and  since 
1892  has  been"  organist  at  the  First  Presby- 
terian Church  in  New  York.  Here  he  has 
produced  many  important  oratorios  and  has 
given  over  150  recitals,  the  programs  being 
devoted  mostly  to  French,  English,  Italian 
and  American  works.  Many  compositions 
have  been  specially  written  for  these  recitals 
by  leading  composers.  In  1899  he  founded  the 
Guilmant  Organ  School,  where  he  is  stiU 
director  and  chief  organ-teacher.  This  school 
has  a  roll  of  over  100  full  graduates,  many 
holding  prominent  positions.  He  was  one  of 
the  founders  of  the  A.  G.  O.  and  has  always 
been  prominent  in  its  affairs.  New  York 
University  made  him  Mus.D.  in  1911.  The 
French  Government  in  1909  had  already 
given  him  the  title  of  Officier  de  1' Instruction 
Publique.  He  was  largely  influential  in 
arranging  the  American  tours  of  Guilmant  and 
Bonnet.  He  himself  has  toured  extensively 
and  inaugurated  many  important  organs. 
The  record  includes  recitals  in  both  Europe 
and  America  and  as  soloist  with  the  leading 
orchestras,  solo  engagements  at  the  World's 
Expositions  for  several  years,  and  even  a 
series  in  the  Klondike,  Alaska.  Among  the 
works  which  he  has  edited  are  Master-Pieces 
for  the  Organ,  Thirty  Postludes,  Novelties  for 
the  Organ,  2  vols.,  Ecclesice  Organum,  Festival 
Music,  5  vols.,  Master-Studies  for  the  Organ,  and 
a  Historical  Alburn  of  Organ  Music.     [  R.7  ] 

CARNAL,  JAMES  EDWARD  (b.  1870). 
See  Colleges,  3  (Kansas  Wesleyan  U.). 

CARNEGIE,  ANDREW  (Nov,  25,  1837, 
Dunfermline,  Scotland  :  Aug.  11,  1919, 
Lenox,  Mass.).  Among  the  many  interests 
of  this  remarkable  man  music  was  not  the 
least.  He  had  unusually  quick  and  delicate 
hearing,  as  is  shown  by  his  being  one  of  the 
first  to  take  telegraphic  messages  by  ear. 
This  led  to  his  promotion  while  yet  a  boy  to 
be  assistant  to  Thomas  A.  Scott,  the  head  of 
the  Western  Division  of  the  Pennsylvania 
Railroad.  He  always  delighted  in  'the  con- 
cord of  sweet  sounds,'  and  often  quoted  the 
oriental  exclamation,  '0  music,  sacred  tongue 
of  God,  I  hear  thee  calling,  and  I  come.'  To 
him  listening  to  an  organ  as  played  by  a  master 
was  a  devotional  experience,  and  hence  he 
found  pleasure  in  helping  congregations  to 
acquire  instruments  that  might  enrich  their 
worship.  One  of  the  first  gifts  he  made  in 
early  manhood,   when   his  prosperity   began, 


was  an  organ  for  the  little  church  in  Alle- 
gheny where  his  relatives  and  friends  attended. 
The  total  number  of  churches  thus  aided  was 
7689,  of  which  4092  were  in  the  United  States 
(1351  in  Pennsylvania  alone),  2119  in  England, 
1005  in  Scotland,  219  in  Ireland,  32  in  Wales 
and  the  remainder  in  the  British  Colonies  all 
over  the  world.  The  aggregate  expended  by 
him  in  this  way  was  about  $6,250,000.  He  was 
also  responsible  for  the  installation  of  concert- 
organs  in  many  places,  among  the  earliest  be- 
ing those  in  the  assembly-halls  of  the  libraries 
which  he  built  in  Pittsburgh  and  adjoining 
towns.  He  provided  for  the  perennial  giv- 
ing of  recitals  twice  a  week  in  Pittsburgh, 
both  at  the  Library  on  the  North  Side  (for- 
merly Allegheny)  and  at  the  Carnegie  In- 
stitute, making  them  'free  to  the  people.' 
This  unique  provision  took  effect  in  Allegheny 
in  1889  and  in  Pittsburgh  in  1895. 

He  became  a  member  of  the  Oratorio 
Society  of  New  York  in  1885  and  was  its 
president  for  thirty  years  (1888-1918).  He 
was  also  a  member  and  president  of  the 
Philharmonic  Society  there  in  1901-09.  His 
interest  in  the  Oratorio  Society  resulted  in 
1891  in  the  erection  of  Carnegie  Music  Hall 
at  Seventh  Avenue  and  Fifty-Sixth  Street, 
which  became  at  once  a  chief  center  of  musical 
art  in  the  metropolis.  He  was  the  friend 
of  many  musicians,  and  in  quiet  and  un- 
ostentatious ways  aided  some  of  them  to 
secure  recognition  and  success.  His  home  in 
New  York  and  his  country-houses  in  Scotland 
and  the  United  States  were  all  provided  with 
noble  organs,  and  he  employed  the  most 
capable  organists  to  play  on  them. 

The  Trust  which  he  created  for  the  United 
Kingdom,  having  its  seat  at  Dunfermline, 
has  displayed  sedulous  care  for  musical 
education,  and  in  1916  announced  a  plan 
under  which  it  agrees  to  publish  important 
new  musical  works,  at  the  same  time  guaran- 
teeing the  copyright  to  the  composer.  This  has 
already  resulted  in  the  publication  of  a  number 
of  musical  compositions  of  merit.i     [  R.7  ] 

CARNEGIE  INSTITUTE,  THE,  of  Pitts- 
burgh, erected  by  Andrew  Carnegie  in  1895, 
besides  being  the  center  for  many  other  edu- 
cational facilities  and  undertakings,  includes 
a  large  concert-hall  where  free  organ-recitals 
are  given  twice  a  week.  The  official  organists 
have  been  Frederick  Archer  (1895-1901), 
Edwin  H.  Lemare  (1902-05)  and  Charles 
Heinroth  (since  1907).  The  orgaln,  built  by 
the  Skinner  Company  in  1918,  has  four 
manuals  and  115  stops. 

CARPENTER,  JOHN  ALDEN  (Feb.  28, 

1876,   Park  Ridge,   111.),   has  won   a  notable 

1  For  the  data  for  this  article  special  thanks  are 

due  to   Dr.  William   J.    Holland,    Director  of  the 

Carnegie  Institute  in  Pittsburgh. 


154 


CARR 


CARSE 


place  among  American  composers  through  his 
fortunate,  straightforward  and.  untrammeled 
faculty  of  musical  expression,  prompted  by 
technical  fluency  and  skill  and  marked  by 
unusual  charm  and  refinement.  His  mother, 
a  distinguished  amateur  singer,  gave  him  his 
first  lessons,  and  Miss  Fay  and  Seeboeck  were 
his  next  teachers.  In  1897  he  graduated  from 
Harvard  University,  having  taken  all  the  musi- 
cal courses  available.  For  a  short  time  he 
studied  with  Elgar,  and  in  1908-12  was  under 
Ziehn  in  Chicago.  Despite  all  this  musical  ac- 
tivity, since  1897  he  has  primarily  engaged  in 
the  mill,  railway  and  vessel  supply-business  of 
George  B.  Carpenter  &  Co.,  and  since  1909  has 
been  its  vice-president.  His  first  published 
work  in  larger  form  was  the  sonata  for  violin 
and  piano  (1913).  An  orchestral  ^uite,  'Ad- 
ventures in  a  Perambulator'  (1915),  has  been 
played  by  the  Chicago  and  New  York  Sym- 
phony Orchestras.  The  Concertino  for  piano 
and  orchestra,  written  in  1915,  was  published 
in  1919.  His  Symphony  No.  1,  written  in 
1916-17  and  played  at  the  Norfolk  Festival 
of  1917,  has  not  yet  been  published.  Among 
his  songs,  made  familiar  by  leading  singers, 
are  the  song-cycles  'Gitanjali'  (poems  by 
Tagore),  'Improving  Songs  for  Anxious 
Children '  (poems,  music  and  pictures  by 
John  and  Rue  Carpenter),  'Water-colors,'  four 
Chinese  tone-poems,  as  well  as  twenty-four 
detached  songs.  From  the  latter  may  be 
singled  for  special  mention  'Go,  Lovely  Rose,' 
'A  Cradle-Song,'  'The  Green  River,'  'Les 
Silhouettes'  and  'Chanson  d'Automne.'  Only 
four  piano-compositions  have  yet  appeared  in 
print.     [  R.9  ] 

CARR,  BENJAMIN  (1769,  England  :  May 
24,  1831,  Philadelphia),  came  to  America  in 
1793.  He  had  had  excellent  advantages,  among 
thesm  experience  in  the  enterprise  known  as 
'The  Antient  Concerts'  under  Joah  Bates. 
He  established  the  first  music-store  in  Phila- 
delphia, with  a  branch  in  New  York  from  1794 
(later  sold  to  James  Hewitt),  and  from  1794  for 
more  than  thirty  years  was  noted  as  a  ballad- 
and  opera-singer,  pianist,  organist,  conductor 
and  composer,  chiefly  in  Philadelphia.  In 
1820  he  was  a  leader  in  the  organization  of 
the  Musical  Fund  Society  there  and  was  one 
of  its  early  conductors.  The  Society  erected 
a  tablet  to  his  memory  in  St.  Peter's  Church 
and  his  portrait,  by  Darley,  was  the  first  of 
its  collection  (reproduced  in  Sonneck,  Early 
Opera,  p.  102).  Besides  many  other  works, 
all  marked  by  taste  and  facility,  in  1796  he 
brought  out  in  New  York  the  opera  'The 
Archers,'  libretto  by  William  Dunlap,  which 
was  repeated  at  least  twice  there  and  also  in 
Boston.  Of  this  work  only  two  fragments 
are  known  (see  Sonneck,  Early  Opera,  pp. 
98-100).     About    1800  he  edited  a   'Musical 


Journal,'  and  from  1805  published  several 
collections  of  sacred  music  (see  Tune-Books), 
as  well  as  theoretical  text-books.  His  sound 
musicianship  and  liis  practical  versatility 
made  him  highly  influential.  See  note  in 
/.  M.  S.  Sammelbde.^  6.  466,  many  references  in 
Sonneck,  Concert-Life  and  Early  Opera,  Ma- 
deira, Music  in  Philadelphia,  etc.     [  R.2  ] 

CARRENO,  MARIA  TERESA  (Dec.  22. 
1853,  Caracas,  Venezuela  :  June  12,  1917, 
New  York).  See  article  in  Vol.  i.  474.  Her 
debut  as  pianist  occurred  at  the  instance  of 
Gottschalk  at  Irving  Hall  in  New  York  on 
Nov.  7,  1862,  leading  to  a  series  of  six  concerts 
from  Nov.  25  to  Dec.  22,  the  last  in  the 
Academy  of  Music  before  an  audience  of 
4000.  A  longer  series  followed  in  Boston, 
where  she  played  with  orchestra.  She  toured 
England  and  the  Continent  in  1865-74,  and 
it  was  at  Edinburgh  on  May  24,  1872,  that 
she  sang  the  part  of  the  Queen  in  '  Les  Hugue- 
nots.' On  her  return  to  America  in  1875  she 
studied  singing  with  Mme.  Rudersdorff  in 
Boston,  and  began  an  operatic  career  which 
lasted  untiri882.  During  the  winter  of  1875- 
76  she  gave  occasional  piano-lessons  to  Mac- 
Dowell,  prior  to  his  departure  for  Paris.  His 
second  piano-concerto  is  dedicated  to  her, 
and  she,  the  first  other  than  himself  to  play 
his  works  in  public,  was  an  ardent  propa- 
gandist for  his  music.  After  1882  she  appeared 
widely  as  concert-pianist,  but  her  greatest 
fame  dates  from  her  European  trip  of  1889-90. 
She  was  four  times  married  —  in  1872  to  the 
violinist  Sauret,  in  ^1875(?)  to  the  baritone 
Giovanni  Tagliapietra,  in  1892  to  the  pianist 
dAlbert,  and  in  1902  to  Arturo  Tagliapietra. 
Two  children  by  the  second  marriage  have 
become  musically  noted.  Her  last  recital  was 
in  Havana  on  Mar.  21,  1917.  Her  'compo- 
sitions were  written  in  early  life.  The  best 
known  is  the  waltz  '  Mi  Teresita.'  There 
are  also  6tudes  and  concert-pieces  for  the 
piano,  a  string-quartet,  and  a  'Petite  Danse 
Tsigane '  for  orchestra  —  about  40  in  all.  The 
Venezuelan  Hymn  she  composed  is  not  the 
national  anthem,  but  a  festival  hymn  for  the 
centenary  of  Bolivar  (1883).     [  R.5  ] 

CARRILLO,  JULIAn  (b.  1875).  See  Reg- 
ister, 9. 

CARROLL,  JAMES  P.  See  Tune-Books, 
1820. 

t  CARSE,.  ADAM  [formerly  A.  von  Ahn] 
(May  19,  1878,  Newcastle-on-Tyne,  England). 
See  article  in  Vol.  v.  622.  Add  to  the  list  of 
compositions  Symphony  No.  2,  in  G  minor 
(1909,  Newcastle  Festival) ;  Variations  in  A, 
for  orchestra  (1911,  London,  Queen's  Hall) ; 
'Norwegian  Fantasia,'  for  violin  and  orchestra 
(Williams);  'Fritiof,'  grand  opera  in  three 
acts  (1915) ;  Miniature  Suite,  for  string- 
orchestra    (Augener) ;      Miniature    Suite    for 


CARTER 


CASAVANT  FREIRES         155 


orchestra  (1917,  France) ;  Sonata  for  violin 
and  piano,  in  C  minor  (1919,  Augener) ;  and 
Variations  on  a  theme  in  A  minor  for  piano- 
duet  (1919,  Williams).  He  has  also  written 
a  Summary  of  the  Elements  of  Music  and 
Practical  Hints  on  Orchestration  (both  Augener) . 
The  list  of  his  published  piano-  and  violin- 
pieces,  songs,  and  educational  works  makes 
a  considerable  catalogue.  He  was  in  active 
Bervice  in  France  as  a  private  in  the  infantry 
in  1917-19. 

CARTER,  ERNEST  TROW  (b.  1866). 
See  Register,  8. 

CARTER,  HENRY  (Mar.  6,  1837,  London, 
England  :  ?  ),  of  a  family  of  organists, 
had  early  training  from  his  father,  Pauer,  Goss 
and  Steggall  in  England  and  from  Haupt,  Kiel 
and  Hiller  in  Germany.  He  began  church- 
playing  at  nine  and  at  seventeen  went  to 
Canada,  where  from  1S54  ho  was  organist 
at  the  Quebec  (English)  Cathedral  and  founded 
the  first  Canadian  oratorio  society.  In  1864 
he  removed  to  Boston  to  become  one  of  the 
regular  players  on  the  new  organ  in  Music 
Hall,  as  well  as  organist  at  the  Church  of  the 
Advent  and  later  at  St.  Stephen's  in  Provi- 
dence. In  1873-80  he  was  organist  at  Trinity 
Church  in  New  York,  where  he  gave  weekly 
recitals.  In  1880-83  he  taught  in  the  College 
of  Music  in  Cincinnati,  but  in  1883  returned  to 
be  organist  at  Plymouth  Church  in  Brooklyn 
and  later  at  the  Collegiate  Church  (48th 
Street)  in  New  York.  He  became  widely 
known  as  an  effective  recitalist.  His  works 
included  two  string-quartets,  an  anthem  for 
soli,  chorus  and  orchestra,  other  church- 
music,  partz-songs  and  songs.  His  brother, 
William  Carter  (b.  1838),  well-known  in  Eng- 
land as  player  and  choral  conductor,  exchanged 
work  with  him  at  Quebec  in  1859  and  then 
led  the  largest  Handel  festival  that  had  been 
held  in  Canada.  Another  brother,  George 
Carter  (b.  1835),  in  1861-70  was  organist  at 
the  Montreal  Cathedral  and  in  1865-67  gave 
many  organ-recitals  in  the  United  States, 
returning  to  London  later.     [  R.4  ] 

CARUSO,  ENRICO  (Feb.  25,  1873,  Naples, 
Italy).  See  article  in  Vol.  V.  622.  He  first  ap- 
peared in  1894  at  the  Teatro  Nuovo  in  Naples  in 
'L'Amico  Francesco.'  A  year  later  he  sang  at 
the  Fondo  there  in  '  La  Traviata,' '  La  Favorita ' 
and  'La  Gioconda.'  In  1898  he  made  a  sensa- 
tion at  the  Teatro  Lirico  in  Milan  as  Marcello 
in  Leoncavallo's  '  La  Bohfeme,'  and  engagements 
at  Genoa,  Petrograd  and  Buenos  Aires  quickly 
followed.  His  first  appearance  at  La  Scala 
was  in  1901,  and  his  fame  as  one  of  the  greatest 
tenors  of  this  generation  was  then  established. 
His  New  York  debut  was  at  the  Metropolitan 
Opera  House  on  Nov.  23,  1903,  in  'Rigoletto,' 
as  in  London  the  year  before.  Since  then 
he  has   been  regularly  at  the   Metropolitan, 


and  on  Mar.  21,  1919,  celebrated  his  twenty- 
fifth  anniversary  as  an  opera-singer  there 
with  a  gala  performance,  illuminated  addresses 
and  many  gifts  from  associates  and  admirers. 
He  had  then  sung  549  times  in  New  York. 
He  has  created  the  leading  tenor-roles  in 
'Fedora'  (1898),  'Le  Maschere'  (1901),  'Ad- 
riana  Lecouvreur,'  'Germania,'  'Madama  But- 
terfly' (1904)  and  'La  Fanciulla  del  West' 
(1910).  His  repertoire  of  over  fifty  operas  in- 
cludes, besides  those  mentioned,  (in  Italian) 
'Aida,'  'L'Africaine,'  'La  Sonnambula,'  'Les 
Huguenots,'  'Cavalleria  Rusticana,'  'I  Pagli- 
acci,'  'L'Amore  dei  Tre  R^,'  'Un  Ballo  in  Mas- 
chera,'  'Lodoletta,'  'Marta,'  'L'Elisird'Amore,' 
'Manon  Lescaut,'  'Lucia  di  Lammermoor,'  'II 
Trovatore,'  'Don  Giovanni,'  'Iris,'  'Lucrezia 
Borgia,'  'Tosca'  and  'La  Forza  del  Destino'; 
(in  French)  'Les  Pfecheurs de Perles,'  'Armide,' 
'Faust,'  'Julien,'  'Le  ProphSte,'  'Carmen,' 
'Samson  et  Dalila'  and  'Manon.'     [  R.8  ] 

GARY,  ANNIE  LOUISE  [Mrs.  Charles 
M.  Raymond]  (b.  1842).  See  Vol.  i.  476,  and 
Register,  6. 

CASALS,  PABLO  (Dec.  30,  1876,  Vendrell, 
Spain),  was  first  taught  by  his  father,  an 
organist,  on  the  piano,  the  flute  and  the  violin. 
At  twelve  he  took  up  the  'cello  with  Jose 
Garcia,  and  after  two  years  won  a  first  prize 
at  the  Barcelona  Conservatory.  Meanwhile 
he  had  studied  composition  with  Rodereda. 
Under  the  Queen's  patronage  in  1894-96  he 
was  a  pupil  of  Tomds  Breton  in  composition 
at  Madrid,  and  also  assisted  in  the  chamber- 
music  class  of  Jesus  de  Monasterio.  He  was 
solo  'cellist  at  the  Paris  Opera  in  1895-98  and 
made  concert-tours  of  Western  Europe.  His 
professional  debut  was  at  the  Concerts 
Lamoureux  in  1898,  and  he  first  appeared 
in  London  the  same  year.  Since  1901  he  has 
made  repeated  trips  to  America  and  his  suc- 
cess, both  as  soloist  and  in  ensemble,  has  been 
phenomenal.  He  married  the  American 
singer  Susan  Metcalfe  in  1914.  He  is  a  Cheva- 
lier of  the  Legion  d'Honneur,  and  received 
a  gold  medal  from  the  Roj^al  Philharmonic 
Society  of  London  in  1912.  His  compositions 
are  a  symphonic  poem,  'La  Vision  de  Fray 
Martin,'  for  orchestra,  organ,  soli  and  chorus ; 
a  symphonic  poem  for  orchestra  (1902) ;  a 
Miserere;  pieces  for  orchestra,  'cello  and 
piano,  violin  and  piano,  etc.     [  R.9  ] 

CASAVANT  FRERES,  organ-makers  at 
St.  Hyacinthe,  Que.,  started  in  business  in 
1879.  The  two  partners,  J.  C.  Casavant 
(b.  1855)  and  Samuel  Casavant  (b.  1850), 
were  sons  of  Joseph  Casavant,  who  worked 
as  organ-maker  at  St.  Hyacinthe  in  1845-66, 
but  was  forced  to  stop  by  ill-health.  The 
older  son  had  had  training  under  the  Abbeys 
at  Versailles.  In  1882  they  began  using  the 
adjustable     combination-pedal     invented     by 


156 


CASE 


CECILIA  SOCIETY 


Duval  of  Montreal,  which  was  also  employed 
by  Roosevelt  in  New  York  after  1889.  From 
1885  they  added  a  crescendo-pedal  moving 
the  stop-knobs.  This  novelty  Archer  called 
'a  triumph  of  ingenuity.'  From  1891  they 
developed  the  form  of  electric  action  which 
they  still  use.  They  have  built  about  825 
organs,  including  175  with  three  manuals  and 
about  70  with  four  —  notable  examples  being 
at  Notre  Dame,  Montreal,  St.  Paul's  and  the 
University,  Toronto,  Emmanuel,  Boston,  First 
Baptist,  Syracuse,  and  Sinai  Temple,  Chicago. 

CASE,  ANNA  (Oct.  29,  1889,  Clinton, 
N.  J.),  was  educated  entirely  in  the  United 
States,  having  but  one  teacher,  Mme.  Ohr- 
strom-Renard  of  New  York.  Her  debut  in 
1909  was  at  the  New  Theatre  in  New  York 
as  the  Dutch  Boy  in  'Werther.'  In  1909-16 
she  was  a  member  of  the  Metropolitan  Opera 
Company.  In  first  American  performances 
she  created  the  roles  of  Sophie  in  '  Der  Rosen- 
kavalier'  (1913)  and  Feodor  in  'Boris  Godu- 
nov'  (1912),  singing  also  Olympia  in  'Tales 
of  Hoffmann,'  Mimi  in  'La  Bohfeme'  and 
Micaela  in  'Carmen.'  Since  1916  she  has 
devoted  her  entire  time  to  concerts  and 
recitals  throughout  the  United  States  and 
Canada,  and  has  gained  a  reputation  as  a 
foremost  recital-singer.  She  has  composed 
the  songs  'Our  America'  (Church)  and  'The 
Robin's  Song'  (Flammer).     [  R.9  ] 

CASTLE,  WILLIAM  (1836-1909).  See 
Register,  4. 

CASTLE  SQUARE  OPERA  COMPANY, 
THE,  organized  in  Boston  about  1895  by 
Henry  W.  Savage,  took  its  name  from  the 
Castle  Square  Theatre,  which  he  owned. 
The  primary  object  was  to  give  light  opera 
in  English,  but  it  essayed  some  larger  works, 
and  its  success  led  in  1900  to  more  ambitious 
undertakings  under  the  name  of  the  Henry 
W.  Savage  Opera  Company. 

CAVALIERI,  LINA  (Dec.  25,  1874,  Rome, 
Italy),  is  said  to  have  risen  into  fame  as  an 
operatic  soprano  from  singing  at  cafe-con- 
certs. She  studied  with  Mme.  Mariani-Masi 
in  Paris,  and  made  her  debut  as  Nedda  in 
'I  Pagliacci'  at  Lisbon  in  December,  1900. 
She  sang  in  Naples,  Palermo,  Florence,  Milan, 
Paris,  Warsaw,  Petrograd  and  Moscow.  In 
1906-07  she  was  at  the  Metropolitan  Opera 
House  in  New  York,  in  1908-09  at  the  Man- 
hattan Opera  House,  and  in  1915-16  with  the 
Chicago  Opera  Company.  She  has  appeared 
in  'Faust,'  'La  Bohfeme,'  'La  Traviata,' 
'Manon,'  'Fedora,'  'Rigoletto,'  'Manon  Les- 
caut'  and  'Adriana  Lecouvreur.'  She  married 
the  tenor  Lucien  Muratore  in  1913.     [  R.9  ] 

'CAVE-MAN,  THE.'  The  eighth  of  the 
'  Grove-Plays '  of  [the  Bohemian  Club  of  San 
Francisco,  produced  in  1910.  The  text  was 
written  by  Charles  K.  Field,  the  scenes  being 


laid  in  a  sequoia  forest  'about  50,000  years 
ago,'  and  the  music  was  composed  by  William 
J.  McCoy. 

CAWLEY,  EDGAR  MOORE  (b.  1871). 
See  Register,  7. 

CECILIA  SOCIETY,  THE,  of  Boston. 
See  note  in  Vol.  i.  369.  B.  J.  Lang  resigned 
in  1907,  having  been  conductor  for  thirty 
years  and  given  the  Society  an  enviable 
reputation  for  breadth  of  policy  and  efficiency 
of  performance.  The  succeeding  conductors 
have  been  Wallace  Goodrich  in  1907-10,  Max 
Fiedler  in  1910-11,  Arthur  Mees  and  Henry 
Gideon  in  1911-15,  Chalmers  Clifton  in  1915- 
17  and  Arthur  Shepherd  since  1917.  As  a 
rule,  the  Society  gives  three  concerts  annually, 
which  are  now  open  to  the  public  as  well  as 
to  subscribers,  and  during  the  period  1891-1910 
the  series  was  repeated  at  low  prices  for  wage- 
earners.  Its  relation  to  the  Boston  Symphony 
Orchestra  has  always  been  close,  and  in  1910-11 
the  two  arranged  a  season  in  conjunction.  It 
has  often  had  the  assistance  of  other  choral 
organizations,  and  has  served  on  numerous 
civic  and  other  occasions  of  importance,  as, 
for  example,  at  the  final  concert  in  the  old 
Music  Hall  and  the  dedication  of  Symphony 
Hall  in  1900.  Among  guest-conductors  have 
been  Bruch  in  1882,  Parker  in  1889,  Dvofdk 
in  1892,  Henschel  in  1902  and  Colonne  in  1904. 
The  list  of  distinguished  soloists  is  long  and 
varied. 

Though  originally  formed  to  cultivate  a  cappella 
singing,  especially  of  smaller  secular  works,  the 
repertory  has  included  many  works  of  the  first  mag- 
nitude, like  Beethoven's  Missa  Solennis  (1897), 
Bach's  Mass  in  B  minor  (1901),  Tinel's  'St.  Francis' 
(1893),  Elgar's  'The  Dream  of  Gerontius'  (1904) 
and  Wolf-Ferrari's  'La  Vita  Nuova'  (1909).  Nearly 
150  works,  large  and  small,  have  been  sung  for  the 
first  time  in  Boston.  Among  the  absolute  premieres 
are  Mendelssohn's  'Athalie'  with  the  Racine  text 
(1887),  Chadwick's  'The  Pilgrim's  Hymn'  (1891), 
Henschel's  Requiem  (1902)  and  Paine's  'Azara'  in 
concert-form  (1907).  First  times  in  America  include 
Foote's  'The  Wreck  of  the  Hesperus'  (1888),  Berlioz' 
'The  Fifth  of  May'  (1891),  Perosi's  'The  Trans- 
figuration' (1899),  Coleridge-Taylor's  'Hiawatha's 
Departure'  (1900),  Massenet's  'The  Promised  Land' 
(1902),  Charpentier's  'The  Poet's  Life'  (1905), 
d'Indy's  'St.  Mary  Magdalene'  (1906)  and  'The 
Song  of  the  Bell'  (1916)  and  Florent  Schmitt's  Psalm 
46  (1913).  Second  times  in  America  include  Berlioz' 
Requiem  (1882),  Dvorak's  Requiem  (1892),  Ban- 
tock's  'Omar  Khayyam'  (1910)  and  Elgar's  'The 
Music-Makers'  (1913),  besides  the  works  of  Tinel, 
Bach  and  Wolf-Ferrari  named  above. 

See  W.  C.  Hill,  History  of  the  Cecilia  Society, 
1874-1917. 

CECILIA  SOCIETY,  THE,  of  Charleston, 
S.  C,  appears  to  have  been  the  earliest  musical 
organization  in  America.  It  was  founded  in 
1762  as  an  exclusive  social  club,  and  was  so 
maintained  until  after  1800.  Its  'Rules,'  as 
adopted  in  1773,  were  published  in  1774  (re- 


CECILIA  SOCIETY 


CHADWICK 


157 


printed  in  Sonneck,  Concert-Life,  pp.  16-18). 
They  provide  for  four  meetings  annually,  the 
chief  being  on  Nov.  22,  St.  Cecilia's  Day. 
The  programs  included  vocal  and  instrumental 
numbers  either  by  members  of  the  Society 
or  by  visiting  artists  —  the  latter  ultimately 
sometimes  drawn  from  a  distance,  as  from 
Boston.  From  the  first  the  Society  proved 
a  constant  stimulus  artistically  and  was  the 
principal  reason  for  the  notable  musical 
activity  of  Charleston  before  and  after  1800. 
[Until  about  1790  the  name  was  written 
'Ccecilia.'] 

CECILIA  SOCIETY,  THE,  of  Cincinnati, 
was  organized  in  1856  by  Fr6deric  L.  Ritter 
and  conducted  by  him  till  1861.  Starting 
as  a  choral  society,  it  soon  undertook  orchestral 
work  as  well,  and  thus  exercised  a  valuable 
influence  in  promoting  musical  interest.  See 
Ritter,  Music  in  America,  chap.  xxi. 

CECILIENVEREIN,  DER  ALLGEMIE- 
NE  DEUTSCHE,  founded  by  Franz  X. 
Witt  of  Ratisbon  in  1867,  is  represented  in 
America  by  the  St.  CecUia  Society,  organized 
in  1873  by  John  B.  Singenberger  of  Mil- 
waukee, who  since  1874  has  conducted  its 
journal  'Cecilia.' 

CENTURY  OPERA  COMPANY,  THE, 
was  organized  in  1913  at  the  instigation  of 
the  City  Club  of  New  York,  with  a  guaranty 
from  a  group  of  public-spirited  men,  largely 
those  also  interested  in  the  Metropolitan 
Opera  House,  the  leader  being  Otto  H.  Kahn. 
Its  design  was  to  give  performances  at  popular 
prices  and  in  English  as  far  as  possible.  The 
managers  were  the  brothers  Aborn,  and  the 
Century  Theater  was  secured  and  enlarged. 
The  conductors  in  1913-14  were  Alfred 
Szendrei  and  Carlo  Nicosia,  in  1914-15  Agide 
Jacchia  and  Ernst  Ivnoch.  In  spite  of  much 
enthusiasm  at  first  and  worthy  effort  through- 
out, the  enterprise  had  to  be  abandoned  early 
in  1915,  after  an  unsuccessful  series  of  per- 
formances in  Chicago.  See  The  Art  of  Music, 
4. 155-7. 

CHACE,  FRANK  WILBUR  (b.  1868). 
See  Register,  7. 

CHADWICK,  GEORGE  M.  See  State 
Universities  (Colo.). 

CHADWICK,  GEORGE  WHITEFIELD 
(Nov.  13,  1854,  Lowell,  Mass.).  See  article 
in  Vol.  i.  494-5.  His  organ-playing  began  at 
fifteen.  Attempts  at  composition  followed 
soon,  while  he  was  still  at  school.  Despite 
this  attention  to  music  he  finished  his  course 
at  the  Lawrence  Academy  and  seemed  likely 
to  go  into  business.  But  in  1872  he  took  up 
theory  with  Buck  and  organ  with  Whiting 
at  the  New  England  Conservatory.  This 
preceded  his  study  with  Eugene  Thayer. 
By  this  time  he  had  written  two  overtures 
for    small    orchestra    and    some    piano-trios. 


While  at  Leipzig  in  1877-79  he  had  two  string- 
quartets  performed,  as  well  as  the  'Rip  van 
Winkle'  overture.  The  latter  was  given  also 
in  Dresden  and  three  times  in  Boston  in  1879- 
80.  After  settling  in  Boston  in  1880  he  was 
often  in  request  as  conductor  for  choral  and 
orchestral  organizations.  Notable  engage- 
ments were  for  the  Springfield  Festivals  in 
1889-99  and  the  Worcester  Festivals  in 
1897-1901.  He  has  also  served  as  guest- 
conductor  with  all  the  larger  orchestras 
throughout  the  country.  At  the  New  Eng- 
land Conservatory,  where  he  has  been  director 
since  1897,  besides  raising  the  standards  in 
other  departments,  he  has  impressed  himself 
especially  upon  the  work  in  composition  and 
in  ensemble-playing.  From  his  orchestra 
of  80  many  players  have  gone  into  orchestras 
elsewhere,  some  of  them  becoming  conductors. 
He  was  made  A.M.  by  Yale  in  1897  and  LL.D. 
by  Tufts  CoUege  in  1905. 

In  the  list  of  compositions  note  that  the 
Symphony  in  C,  No.  1,  was  first  given  by  the 
Harvard  Musical  Association  on  Feb.  23, 
1882,  and  that  the  Symphony  in  F,  No.  3, 
was  played  by  the  Boston  Symphony  Or- 
chestra on  Oct.  20,  1894.  The  Quartet  in  C, 
No.  2,  dates  from  1879,  not  1897.  The 
Sinfonietta  was  first  given  in  Jordan  Hall, 
Boston,  by  an  orchestra  of  players  from  the 
Symphony  Orchestra,  under  the  composer's 
direction,  on  Nov.  21,  1904,  and  on  the  same 
program  were  the  'Symphonic  Sketches' 
(1896),  the  3rd  Symphony,  the  ballad 
'Lochinvar,'  for  baritone  and  orchestra  (1897), 
and  several  songs.  'Judith,'  his  most  ambitious 
choral  work,  was  produced  at  Worcester  on 
Sept.  28,  1901.  The  symphonic  poem 
'Cleopatra'  was  played  by  the  Chicago 
Orchestra  in  1905.  The  symphonic  poem 
'Aphrodite'  was  written  for  the  Norfolk 
Festival  in  June,  1912.  The  symphonic  poem 
'Angel  of  Death,'  based  on  the  famous  group 
by  the  sculptor  Daniel  C.  French,  was  given 
by  the  Symphony  Society  of  New  York  at 
the  memorial  concert  for  Theodore  Roosevelt 
in  1919.  His  'Suite  Symphonic'  in  E-flat 
received  the  first  prize  from  the  American 
Federation  of  Musical  Clubs  and  was  per- 
formed by  the  Philadelphia  Orchestra  in 
March,  1917.  From  1917  dates  the  symphonic 
ballade  'Tam  o'  Shanter.'  'Noel,'  a  Christmas 
pastoral  for  chorus,  soli  and  orchestra,  was 
written  for  the  Norfolk  Festival  in  June,  1908. 
Other  vocal  works  are  'Aghadoe,'  a  ballade 
for  contralto  and  orchestra,  'Love's  Sacrifice,' 
a  pastoral  opera  in  one  act  (1915),  'Land  of 
our  Hearts,'  a  patriotic  hymn  for  chorus  and 
orchestra  (given  by  the  Boston  Symphony 
Orchestra  in  September,  1918),  and  incidental 
music  to  'Everywoman,'  the  play  by  Walter 
Brown,  produced  in  New  York  on  Feb.  21, 


158 


CHAFFEE 


CHASE 


1911.  In  manuscript  there  ia  a  tragic  opera, 
'The  Padrone,'  in  two  parts. 

Concerning  his  work  Edward  Burlingame 
Hill  has  said:  "His  chief  attributes  are 
fluency  and  beauty  of  melodic  inventiveness, 
mastery  of  part-writing,  a  logical  and  coherent 
grasp  of  form.  His  harmonic  structure  is 
solid,  yet  he  always  manages  to  obtain  effects 
that  are  romantic,  poetic  or  dramatic  in  color 
without  resorting  to  the  devices  of  ultra- 
modern eccentricity.  His  instrumentation  is 
brilliant  and  resourceful  without  employing 
either  a  gigantic  orchestra  or  semi-obsolete 
instruments ;  he  does  not  disregard  the  natural 
limitations  of  the  orchestral  player's  technique 
in  order  to  invent  new  combinations.  His 
contrapuntal  dexterity  is  remarkable  in  an 
age  that  delights  in  contrapuntal  tours  de 
force.  His  command  of  the  sonata  and 
symphonic  forms  and  his  spontaneity  of 
expression  in  them  is  striking,  yet  he  has 
shown  most  convincingly  in  the  overture 
'  Melpomene '  that  he  can  depart  from  the 
strict  letter  of  the  poem  and  justify  the  result. 
His  most  salient  characteristics  as  an  artist 
are  the  sincerity  and  depth  of  his  artistic 
purposes,  an  uncompromising  honesty  which 
will  permit  nothing  vague  or  inconsistent  to 
stand,  and  a  sense  of  balance  and  wholesome 
moderation.  He  invariably  lays  a  firm  con- 
structive foundation  in  his  composition  in 
larger  forms,  in  order  that  he  may  be  free  to 
elaborate  detail  as  he  pleases."     [  R.  6  ] 

CHAFFEE,  EDMUND  WALTER  (b. 
1862).     See  Colleges,  3  (Valparaiso  U.,  Ind.). 

CHAFFIN,  LUCIEN  GATES  (b.  1846). 
See  Register,  6. 

CHALFANT,  WILLIAM  ADDISON  (b. 
1854).     See  Register,  6. 

CHALMERS,  THOMAS  HARDIE  (b. 
1884).     See  Register,  10. 

CHAMBER  MUSIC.  Much  of  the  in- 
strumental music  performed  in  various  places 
during  the  late  18th  century  and  the  early 
19th  was  virtually  of  the  'chamber'  class, 
though  usually  with  chance  combinations  of 
instruments  and  players.  Doubtless  in  some 
cases  this  led  to  rather  more  definite  groups, 
such  as  that  of  the  Hupfelds,  Gilles  and 
Schetky  in  Philadelphia  about  1815.  In 
New  York,  when  German  musicians  began 
to  multiply  after  1840,  sundry  ensemble- 
groups  were  formed,  as  by  Pirsson  about 
1848,  under  the  lead  of  Saroni's  '  Musical 
Times'  in  1849,  and,  more  fruitfully,  by 
Eisfeld  from  1851  and  by  William  Mason 
and  Thomas  in  1855-66.  In  Boston  the 
famous  Mendelssohn  Quintette  Club  was 
founded  in  1849  by  the  Fries  brothers,  and  for 
many  years  continued  by  its  extensive  travels 
and  its  popularity  to  foster  interest  in  instru- 
mental   part-music.       Similar    pioneer    work 


was  done  in  Chicago  in  1860-61  by  the  Brigga 
House  Concerts,  followed  in  1863-64  by 
Balatka's  Classical  Chamber  Concerts. 

CHAMPLIN,  JOHN  DENISON  (1834- 
1915).     See  Register,  7. 

CHAPEK,  JOSEPH  HORYMIR  (b.  1860). 
See  Register,  7. 

CHAPIN,  NATHAN.  See  Tune-Books, 
1810. 

CHAPMAN,  FRANK  THOMAS.  See  Col- 
leges, 3  (Pacific  U.,  Ore.). 

CHAPMAN,  JAMES  W.  See  State  Uni- 
versities (Fla.). 

CHAPMAN,  WILLIAM  ROGERS  (b. 
1855).     See  Register,  6. 

CHAPPELL,  W.  L.    See  Tune-Books,  1831. 

CHARACTER-NOTES.  From  the  begin- 
ning of  pedagogical  effort  in  America  on  behalf 
of  popular  singing,  experiments  were  made  in 
devising  novel  ways  of  printing  what  was  to 
be  sung.  The  chief  of  these  were  based  upon 
the  principle,  now  exemplified  in  the  Tonic 
Sol-fa  system,  that  what  is  presented  to  the  eye 
shall  recall  some  tone-conception  with  which 
the  ear  is  familiar,  and  do  this  by  something 
more  than  merely  relative  position  on  a  staff. 
Tufts'  experiment  in  the  early  18th  century 
was  short-lived,  and  that  of  Law  about  1800 
was  equally  transient,  though  made  known 
to  many  more  users.  But  Law's  idea  of 
varying  the  shape  of  the  note-heads  so  as  to 
indicate  tone-relations  has  had  considerable 
influence.  From  about  1825-30  collections 
of  tunes  began  to  be  frequent,  especially  in 
Ohio  and  Virginia,  in  which  the  music  is 
printed  on  a  staff  exactly  as  in  ordinary 
notation,  but  with  a  system  of  note-heads 
that  indicates  the  scale-degree  intended  — 
do,  ■^,  re,  ^,  mi,  *■,  fa,  '^,  sol,  c,  la,  °,  ti,  ^. 
Many  popular  teachers  and  leaders  evidently 
believed  that  the  use  of  these  'character- 
notes'  or  'shaped  notes'  facilitated  practical 
singing.  Thousands  of  books  in  this  notation 
have  been  put  into  circulation,  and  the  tjT^es 
required  to  print  them  are  recognized  by  first- 
class  music-typographers.  But  the  system  has 
never  made  its  way  generally,  and  is  now 
dying  out. 


Change  of  key. 


CHARLIER,  MARCEL.     See  Register,  9. 

CHASE,  MARY  WOOD  (Jan.  21,  1868, 
Brooklyn),  was  the  daughter  of  a  professor  in 
Cornell  University,  a  mining  engineer  and 
later  a  banker.  From  her  mother,  who  had 
a  fine  soprano  voice,   she  had  her  first  in- 


CHASE 


CHICAGO  MUSICAL  UNION    159 


struction.  After  a  year  with  George  B. 
Penny,  at  sixteen  she  entered  the  New  Eng- 
land Conservatory  in  Boston,  taking  piano 
and  harmony  with  Sarah  E.  Newman,  voice 
with  F.  E.  Morse  and  O'Neill,  and  theory  with 
Apthorp.  Her  debut  in  1886  was  at  Music 
Hall.  After  four  years  of  study  with  Raif 
in  Berlin  (becoming  his  assistant),  she  re- 
turned to  America  and  made  several  tours 
as  pianist.  She  appeared  with  the  Thomas 
Orchestra  in  Chicago  in  1902,  giving  the 
Sinding  concerto  its  first  performance  in 
America.  In  recent  years  she  has  devoted 
herself  mostly  to  the  development  of  teaching- 
methods.  To  this  end  she  founded  at  Chicago 
in  1906  the  Mary  Wood  Chase  School  of 
Musical  Arts  (incorporated  1912),  with  a 
faculty  especially  trained  to  teach  her  methods. 
In  1912  a  summer-school  was  added  at  Ep- 
worth,  Mich.  She  has  the  reputation  of  hav- 
ing trained  many  fine  pianists  and  successful 
teachers.  In  1910  was  published  her  Natural 
Laws  in  Piano-Technic  (Ditson).  She  has 
in  preparation  works  on  the  philosophy  of 
interpretation  and  on  modern  educational 
methods.  She  has  contributed  articles  to 
'Music,'  'The  Etude,'  and  'The  Musician,' 
and  has  written  nlany  compositions  in  smaller 
forms  which  remain  unpublished.     [  R.7  ] 

CHASE,  MELVILLE  WARREN  (b.  1842). 
See  Register,  5. 

CHASE  COMPANY,  THE  A.  B.,  of  Nor- 
walk,  O.,  was  incorporated  in  1875,  originally 
for  the  making  of  reed-organs  of  high  grade. 
In  1885  piano-making  was  added,  and  speedily 
attained  significant  success,  as  attested,  for 
example,  by  high  awards  at  the  Columbian 
Exposition  in  1893.  The  Chase  pianos  are 
distinguished  for  excellence  of  tone  and  for 
beauty  of  external  form.  The  player-device 
used  in  them  is  known  as  the  'Artistano.' 

CHAUTAUQUA  INSTITUTION,  THE, 
is  -the  extensive  organization  that  has  been 
developed  from  the  Sunday  School  Assembly 
first  held  at  Chautauqua  Lake  in  western 
New  York  in  1874.  The  popularity  of  the 
initial  efforts  led  to  rapid  extensions,  both  in 
the  direction  of  summer-school  courses  and 
in  reading-  and  correspondence-courses,  cover- 
ing many  kinds  of  subjects.  Among  these  has 
been  special  provision  for  musical  instruction 
and  leadership.  The  musical  directors  have 
been  William  F.  Sherwin  in  1874,  Charles  C. 
Case  in  1875-86,  Horatio  R.  Palmer  in  1887- 
1901,  Alfred  Hallam  in  1902-19  and  William 
C.  Bridgman  from  1920.  The  advantages 
include  many  courses  of  instruction  by  well- 
known  teachers,  classes  in  singing  and  or- 
chestral playing,  and  numerous  recitals  and 
concerts.  In  1912  a  Music  Studio  was  erected 
in  memory  of  the  pianist  William  H.  Sher- 
wood. 


CHEATHAM,  KATHARINE  SMILEY 
[Kitty  Cheatham].     See  Register,  9. 

CHERNIAVSKY,  JAN  (b.  1892),  LEO  (b. 
1890),  and  MISCHEL  (b.  1893).  See  Reg- 
ister, 10. 

CHICAGO  CONSERVATORY  OF  DRA- 
MATIC AND  MUSICAL  ART,  THE,  was 
founded  in  1885  by  Samuel  Kayzer,  who  had 
previously  been  dramatic  instructor  in  the 
Hershey  School.  Since  1907  the  president 
has  been  Walton  Perkins. 

CHICAGO  MADRIGAL  CLUB,  THE,  was 
organized  in  1900  by  D.  A.  Clippinger,  who  has 
been  its  only  conductor.  It  is  composed  of  60 
singers,  all  chosen  by  examination  as  soloists. 
Two  regular  concerts  are  given  each  season, 
with  several  extras  usually,  so  that  the  total 
number  up  to  the  present  is  about  150.  The 
Club  is  supported  wholly  by  its  sale  of  season- 
tickets.  In  1903  theW.  W.  Kimball  Co.  estab- 
lished an  endowment  yielding  $100  annually, 
to  be  used  as  a  prize  for  the  best  madrigal  sub- 
mitted for  competition.  Nearly  900  composi- 
tions have  been  thus  submitted,  including  many 
notable  works  as  prize-winners.  About  50  com- 
positions have  also  been  written  for  the  Club 
by  various  American  composers. 

CHICAGO  MUSICAL  COLLEGE,  THE, 
was  founded  in  1867  by  Florenz  Ziegfeld, 
becoming  incorporated  in  1877.  He  re- 
mained its  active  head  for  nearly  fifty  years, 
and  is  now  president  emeritus.  With  him 
since  1905-06  have  been  associated  Felix 
Borowski  and  Carl  D.  Kinsey,  who  are  now 
president  and  vice-president  respectively. 
The  teaching-staff  numbers  over  100  and  the 
annual  enrolment  over  4000.  During  its 
history  more  than  90,000  students  have 
pursued  courses,  of  whom  nearly  3500  were 
graduated.  The  degree  of  Mus.B.  has  been 
given  to  about  150,  that  of  Mus.M.  to  about 
100,  and  that  of  Mus.D.  to  12.  The  College 
occupies  its  own  building  at  624  South 
Michigan  Avenue,  where  it  has  extraordinary 
conveniences.  Its  faculty  has  always  been 
notable  for  ability,  and  from  time  to  time 
it  has  been  augmented  by  a  system  of  guest- 

CHICAGO     MUSICAL     UNION,     THE, 

though  not  the  first  choral  society  in  Chicago, 
was  one  of  the  first  to  exercise  a  positive 
influence.  It  was  organized  in  1857  and  con- 
tinued in  efficient  operation  till  1865.  Its 
first  conductor  was  C.  M.  Cady,  later  as- 
sociated with  George  F.  Root  in  the  firm 
of  Root  &  Cady.  He  was  followed  in  1860 
by  A.  L.  Coe  and  in  1863  by  Hans  Balatka. 
The  Union  undertook  both  sacred  and  secular 
works.  It  gave  'The  Creation'  in  1857  and 
'Elijah'  in  1860,  some  of  its  oratorio  concerts 
being  made  memorable  by  the  assistance  of 
Charles    R.    Adams    and    Christine    Nilsson. 


160    CHICAGO  NORTH  SHORE 


CHICAGO  SYMPHONY  ORCHESTRA 


In  1864  it  bought  out  Lortzing's  'Czar  und 
Zimmermann'  in  English,  arranged  by  Balatka, 
which  had  five  performances.  See  Upton, 
Musical  Memories,  pp.  130,  271-4. 

CHICAGO  NORTH  SHORE  FESTIVAL 
ASSOCIATION.  THE,  of  Evanston,  111.,  or- 
ganized in  1908,  consolidates  work  previously- 
undertaken  by  the  Musical  Clubs  of  Evanston 
and  Ravenswood,  111.,  and  the  School  of  Music 
in  Northwestern  University.  Its  object  is  to 
present  annually  a  series  of  superior  concerts, 
usually  five  in  number,  of  which  three  are 
given  to  choral  music.  At  present  the  Festival 
chorus  numbers  about  600  voices,  but  at  times 
is  augmented  to  1100.  There  is  also  a  chil- 
dren's chorus  of  1500,  drawn  from  the  public 
schools.  The  concerts  are  given  in  the 
Gymnasium  of  Northwestern  University, 
which  seats  5000.  Their  artistic  excellence 
has  attracted  wide  attention  and  brought 
fame  to  the  conductor.  Dean  P.  C.  Lutkin, 
to  the  University  and  to  Evanston.  Among 
the  novelties  brought  forward  have  been 
Bantock's  'Omar  Khayydm,'  Harty's  'The 
Mystic  Trumpeter,'  Piern6's  'St.  Francis  of 
Assisi'  and  Smith's  'Rhapsody  of  St.  Bernard' 
(1918) .  In  addition,  works  by  Elgar,  Coleridge- 
Taylor,  Bath  and  Clutsam  that  are  compara- 
tively unknown  have  been  brought  out.  See 
notice  in  'The  New  Music  Review,' July,  1910. 

CHICAGO  ORCHESTRAL  ASSOCIA- 
TION, THE,  organized  in  1891,  is  the  cor- 
porate name  of  the  trustees  of  the  Chicago 
(formerly  Thomas)  Symphony  Orchestra  and 
the  owners  of  Orchestra  Hall  on  Michigan 
Avenue,  built  in  1904.     See  Vol.  iv.  801-3. 

CHICAGO- PHILADELPHIA  OPERA 
COMPANY,  THE,  or  the  Chicago  Opera 
Association,  was  formed  in  1910  chiefly  from 
the  forces  previously  drawn  together  by 
Hammerstein  for  his  ventures  in  New  York 
and  Philadelphia.  Its  manager  in  1910-13 
was  Andreas  Dippel,  with  Cleofonte  Cam- 
panini  as  chief  conductor.  After  1913  the 
latter  was  manager  till  1915,  when,  the  original 
organization  having  become  bankrupt,  a  new 
one  was  formed  with  the  same  name,  Cam- 
panini  remaining  as  artistic  director,  with 
Bernhard  Ulrich  as  business  manager.  Until 
his  death  in  1919  Campanini  was  the  most 
influential  factor  in  the  enterprise,  which  he 
brought  to  a  high  pitch  of  artistic  perfection. 
In  1920  he  was  succeeded  as  artistic  director 
by  Gino  Marinuzzi.  Except  for  a  break  in 
1914-15  due  to  the  World  War,  regular 
seasons  have  been  presented  in  both  Chicago 
and  Philadelphia,  and  since  1918  in  New  York 
as  well.  The  Company  has  also  given  per- 
formances after  the  regular  season  in  other 
places.  The  list  of  novelties  includes,  in  1911, 
Herbert's  'Natoma,'  Wolf-Ferrari's  'II  Segreto 
di    Susanna,'    Nougu5s'    'Quo    Vadis?'    and 


Massenet's  '  Cendrillon ' ;  in  1912,  Wolf-Fer- 
rari's 'I  Giojelli  della  Madonna,'  Parelli's 
'A  Lovers'  Quarrel'  and  Goldmark's  'The 
Cricket  on  the  Hearth';  in  1913,  d'Erlanger's 
'Noel,'  Zandonai's  'Conchita,'  Kienzl's  'Der 
Kuhreigen,'  Massenet's  'Don  Quichotte'  and 
Franchetti's  'Cristoforo  Colombo';  in  1914, 
Gnecchi's  'Cassandra';  in  1916,  Massenet's 
' Cleopatre '  and  Buchhalter's  'A Lovers'  Knot' ; 
in  1917,  Mascagni's  'Isabeau'  and  Hadley's 
'Azora';  in  1918,  Nevin's  'A  Daughter  of 
the  Forest'  and  Lazzari's  'Le  Sauteriot' ;  and 
in  1919,  Fevrier's  '  Gismonda,'  Catalani's 
'  Loreley,'  Leroux' '  Le  Chemineau '  and  Monte- 
mezzi's  '  La  Nave,'  besides  Borowski's  '  Bou- 
dour '  and  Carpenter's  '  The  Birthday  of  the 
Infanta'  (ballets). 

CHICAGO  SYMPHONY  ORCHESTRA, 
THE.  For  the  early  history,  see  Vols.  iv. 
801-3  and  v.  88.  After  the  death  of  Theodore 
Thomas  in  1905  the  conductorship  passed  to 
Frederick  A.  Stock,  who  had  been  his  assistant. 
Though  at  that  time  a  young  man  for  so 
responsible  a  position,  the  new  conductor 
speedily  established  himself  with  both  players 
and  public.  The  personnel  and  discipline  have 
been  steadily  improved  and  the  repertoire  kept 
fully  abreast  of  the  times.  In  recent  years  the 
Orchestra  has  toured  extensively.  About  75  con- 
certs are  given  annually  in  Chicago  and  about  25 
elsewhere.  The  usual  number  of  players  is 
about  90.  Since  1912  the  concertmaster  has 
been  Harry  Weisbach.  In  1915  Mrs.  Elizabeth 
Sprague  Coolidge  gave  $100,000  as  a  pension- 
fund.  In  1916  she  gave  a  like  amount  (later 
increased  by  other  gifts  to  $237,500)  to  con- 
stitute the  Albert  and  Nancy  Sprague  Memorial 
Fund.  In  1918-19,  when  Mr.  Stock's  leader- 
ship was  temporarily  intermitted  (because 
he  had  not  then  acquired  full  American  citizen- 
ship), the  concerts  were  directed  by  Eric 
DeLamarter  and  various  visiting  conductors. 

From  the  excellent  program-books  prepared  by 
Felix  Borowski  it  appears  that  the  total  repertoire 
of  the  Orchestra  since  1891  comprises  works  by  over 
300  composers  and  covering  the  entire  field  of  sym- 
phonic and  concerted  literature.  In  this  list  are  the 
names  of  about  fifty  composers  who  are  Americans 
or  associated  with  America,  represented  by  about 
150  works,  including  the  following :  Paine's  2nd 
Symphony  and  'The  Tempest';  Gleason's  'Edris' 
and  'Song  of  Life';  Vogrich's  Violin  Concerto; 
Foote's  Tema  con  Variazioni,  'Cello-Concerto  and 
Suites,  opp.  36  and  63  ;  Chadwick's  3rd  Symphony, 
Overtures  'Melpomene'  and  'Euterpe,'  Suite 
Symphonique,  'Cleopatra,'  'Aphrodite'  and  'Tam 
O'Shanter ' ;  Foerster's  Suite,  '  Cyrano  de  Bergerac ' ; 
Schoenfeld's  Pastoral  Symphony ;  Shelley's  '  Fran- 
cesca  da  Rimini';  Van  der  Stucken's  'William 
Ratclifl,'  'Pax  Triumphans'  and  Suite,  'The  Tem- 
pest'; Herbert's  2nd  'Cello-Concerto  ;  Paderewski's 
1st  Symphony;  Seeboeck's  Piano-Concerto;  Loef- 
fler's  'Mort  de  Tintagiles,'  'Villanelle  du  Diable' 
and  'A  Pagan  Poem';  MacDowell's  1st  and  2nd 
Piano-Concertos,  'Lancelot  and  Elaine'  and  1st 
and  2nd  Suites;   Arthur  Whiting's  Fantasy,  op.  IX; 


JONAS  CHICKERING 


CHICKERING 


CHITTENDEN 


161 


Kaun's  three  Symphonies,  'Minnehaha,'  'Hiawatha'; 
etc. ;  Middelschulte's  Organ-Concerto  and  Pas- 
sacaglia ;  Parker's  Overture,  '  Count  Robert  of 
Paris,'  '  Northern  Ballad '  and  Organ-Concerto ; 
Cole's  Symphonic  Prelude ;  Lucas'  Overture,  '  Mac- 
beth';  Mrs.  Beach's  'Gaelic'  Symphony  and  Piano- 
Concerto;  Strube's  Comedy  Overture,  'Puck'; 
Weidig's  'Semiramis'  and  Symphonic  Suite;  Otter- 
stroem's  'Negro'  Suites;  Skilton's  'Two  Indian 
Dances';  Converse's  'Festival  of  Pan,'  'Endymion's 
Narrative,'  'Mystic  Trumpeter'  and  'Ormazd'; 
Hadley's  2nd,  3rd  and  4th  Symphonies,  'Salome' 
and  'Culprit  Fay';  Rubin  Goldmark's  '-Samson'; 
Borowski's  'El^gie  Symphonique'  and  'Peintures'; 
Stock's  Symphony  in  C  minor.  Symphonic  Variations, 
'Eines  Menschenleben,'  Overture,  'Life's  Spring- 
tide,' etc. ;  Oldberg's  2nd  Symphony,  Festival  and 
Dramatic  Overtures,  Symphonic  Organ-Variations, 
etc.;  Carpenter's  1st  Symphony  and 'Perambulator' 
Suite ;  Schelling's  Symphonic  Legend  and  Fantastic 
Suite ;  D.  S.  Smith's  Symphony  and  Overture, 
'  Prince  Hal ' ;  DeLamarter's  Symphony ;  John 
Powell's  Violin-Concerto;  Ballantine's  'Eve  of 
St.  Agnes';   and  Boyle's  Piano-Concerto. 

CHICKERING,  JONAS  (Apr.  5,  1798,  New 
Ipswich,  N.  H.  :  Dec.  8,  1853,  Boston), 
was  trained  as  a  cabinet-maker.  In  1818  he 
became  an  apprentice  of  John  Osborn,  the  able 
Boston  piano-maker,  who  had  been  a  pupil 
of  Benjamin  Crehore  of  Milton.  In  1823 
James  Stewart,  a  Scotchman  who  had  come 
from  Baltimore  in  1820  to  work  with  Osborn, 
induced  Chickering  to  join  him  in  the  new 
firm  of  Stewart  &  Chickering.  Stewart  went 
back  to  England  in  1826.  In  1829  John 
Mackay,  who  had  gained  wealth  as  a  ship- 
captain  and  who  had  been  the  financial  backer 
of  Alpheus  Babcock,  the  inventor,  joined 
Chickering,  the  firm  name  being  Chickering 
&  Mackay.  This  partnership  was  highly 
successful,  since  Mackay  brought  considerable 
capital  and  was  a  vigorous  promoter  on  the 
commercial  side,  while  Chickering  devoted 
himself  to  technical  improvement.  They  were 
pioneers  in  developing  the  upright  type  of 
instrument.  In  1837  Chickering  applied  for 
a  patent  for  a  full  metal  plate  for  squares, 
but  the  application  was  held  up  on  a  techni- 
cality tm  1840.  In  1843  his  full  metal  plate 
for  grands  was  patented,  together  with  a 
device  for  casting  the  agraffes  in  the  plate. 
In  1853,  at  the  time  of  his  death,  he  was  work- 
ing upon  a  metal  plate  that  should  provide 
for  overstringing.  After  1841,  when  Mackay 
died,  Chickering  proceeded  alone  until  he 
could  take  his  three  sons  into  the  business. 
Besides  becoming  famous  for  his  inventions 
and  for  the  notable  excellence  of  his  instru- 
ments, he  was  active  in  various  musical 
undertakings  in  Boston.  He  sang  in  the  choir 
of  the  Park  Street  Church  and  in  the  chorus 
of  the  Handel  and  Haydn  Society,  of  which 
from      1834     he     was     vice-president.i     For 

'A  humorous  compliment  to  his  personal  qualities 
was  embodied  on  one  occasion  in  the  toast,  '  Jonas 
Chickering  —  grand,  square,  and  upright ! ' 

M 


various    points    about    his    inventive    work, 
see  Vols.  i.  514  and  iii.  728-32.     [  R.3  ] 

CHICKERING  &  SONS,  of  Boston,  is  the 
name  of  the  piano-making  firm  founded  in 
1823  by  Jonas  Chickering  and  enlarged  by 
the  admission  of  his  sons  Thomas  E.  Chicker- 
ing (1824-1871),  Charles  Frank  Chickering 
(1827-1891)  and  George  H.  Chickering  (1830- 
1896) .  Of  these  the  second,  C.  Frank  Chicker- 
ing, especially  inherited  his  father's  genius 
as  inventor  and  designer,  in  token  of  which 
he  received  the  decoration  of  the  L6gion 
d'Honneur  in  1867,  at  the  same  time  that  the 
firm  won  fir-st  prize  at  the  Paris  Exposition. 
In  1852  the  firm's  entire  stock  in  trade  was 
destroyed  by  fire,  the  loss  being  estimated  at 
a  quarter-million.  Despite  this  calamity, 
the  business  quickly  recovered  its  leading 
position.  Since  1908  it  has  been  absorbed 
into  the  American  Piano  Company. 

CHILD,  EBENEZER.  See  Tune-Books, 
1804. 

CHITTENDEN,  KATE  SARA  (April  17, 
1856,  Hamilton,  Ont.),  is  descended  from  an 
old  Connecticut  family.  She  early  began 
piano-study  with  an  aunt,  continuing  with 
Jules  Fossier  and  Lucy  H.  Clinton.  She  was 
educated  at  Hellmuth  College,  London,  Ont., 
receiving  the  Dufferin  medal  for  art  in  1873, 
and  began  to  teach  there  at  seventeen.  In 
1876  she  came  to  New  York,  where  she  has 
since  been  constantly  engaged  as  a  teacher. 
In  1879  she  became  organist  at  Calvary 
Baptist  Church,  where  she  remained  for 
twenty-seven  years.  In  1890  she  was  elected 
head  of  the  piano-department  at  the  Catherine 
Aiken  School  in  Stamford,  Conn.,  retaining 
the  position  until  the  school  was  given  up  in 
1914.  In  1892  she  was  the  first  woman  to 
lecture  under  the  New  York  Board  of  Edu- 
cation, giving,  with  the  assistance  of  C.  Judson 
Bushnell,  baritone,  the  first  lectures  on  music, 
and  this  work  has  been  continued  until 
recently.  Her  connection  with  Vassar  College 
dates  from  1898.  In  1899  she  became  head 
of  the  piano-department,  and  since  practical 
music  was  recognized  as  an  elective  in  1918 
she  has  been  assistant-professor.  In  1890 
she  became  associated  with  Albert  Ross 
Parsons  in  the  preparation  of  The  Synthetic 
Method.  The  first  part  only  was  issued,  as 
subsequently  it  was  deemed  advisable  that 
the  material  belonging  to  each  party  be 
published  separately,  in  sheet  form.  She 
joined  the  staff  of  the  (then)  Metropolitan 
Conservatory  in  1892.  This  was  later  re- 
organized as  The  American  Institute  of  Ap- 
plied Music.  In  the  Institute  she  is  now 
vice-president  and  dean  of  the  faculty  as  well 
as  president  of  the  trustees  of  the  Metro- 
politan College.  She  has  taught  over  3000 
piano-pupils,  and  has  specialized  in  the  train- 


162 


CHOIR  magazine: 


CILfiA 


ing  of  teachers.  Technical  works  for  the  piano 
and  some  tunes  for  children  represent  her 
compositions.  She  has  written  for  musical 
magazines  and  is  active  in  state  and  national 
music-teachers'  organizations.     [  R.  6  ] 

'CHOIR  AND  CHORAL  MAGAZINE, 
THE.'     See  Vol.  iii.  689. 

'CHOIR  JOURNAL,  THE.'  See  Vol.  iii. 
689. 

CHORAL  ART  CHOIR,  THE,  of  New 
Haven,  Conn.,  was  organized  in  1918  by 
George  C.  Stock.  It  is  a  mixed  chorus  of 
60  selected  voices  for  the  performance  of  the 
best  part-songs  and  cantatas.  The  conductor 
is  David  Stanley  Smith.  Two  concerts  are 
given  annually. 

CHORAL  ART  SOCIETY,  THE,  of  Bos- 
ton. See  Vol.  i.  369.  Wallace  Goodrich  con- 
tinued as  conductor  till  1907,  when  he  be- 
came leader  of  the  Cecilia. 

CHORAL  CLUB,  THE,  of  Hartford,  Conn., 
a  superior  male  chorus  of  70-80  voices,  was 
founded  in  1907.  It  gives  two  concerts  each 
year,  besides  occasional  performances  in  near- 
by cities.  Its  conductor  from  the  beginning 
has  been  Ralph  L.  Baldwin.  In  addition  to 
a  large  number  of  part-songs,  about  twenty- 
five  longer  works  in  cantata-form  have  been 
given.  American  compositions  have  always 
been  numerous  and  conspicuous,  among  them 
Foote's  'The  Farewell  of  Minnehaha,'  Par- 
ker's 'The  Norseman's  Raid'  and  'The  Leap 
of  Roushan  Beg,'  Protheroe's  'The  Nun  of 
Nidaros,'  Strube's  'Hymn  to  Eros,'  Baldwin's 
'Hymn  before  Action,'  Cadman's  'The  Vision 
of  Sir  Launfal'  and  Harling's  'The  Death  of 
Minnehaha'  (first  time,  conducted  by  the 
composer) . 

CHORAL  SOCIETIES.  The  first  impetus 
in  the  direction  of  choral  music  in  America 
was  given  by  the  'singing-schools'  that 
sprang  up  in  New  England  from  the  middle 
of  the  18th  century.  From  one  of  these 
'schools'  came  in  1786  the  Musical  Society  of 
Stoughton,  Mass.,  which  though  apparently 
not  the  first  of  its  kind,  was  the  only  one  that 
has  endured  (see  list  at  end  of  Register,  2). 
The  organization  in  1815  of  the  Handel  and 
Haydn  Society  of  Boston  marked  the  solid 
beginning  of  permanent  societies.  To  this 
followed  in  1820  the  'Musical  Fund  Society 
of  Philadelphia  and  in  1823  the  Sacred  Music 
Society  of  New  York.  Various  influences 
combined  to  foster  numerous  experiments  of 
the  same  general  sort  during  the  next  half- 
century,  especially  in  the  East.  After  1850 
interest  in  choral  undertakings  began  to 
manifest  itself  in  Cincinnati,  Chicago  and 
Milwaukee,  often  stimulated  by  the  large 
proportion  of  Germans  in  the  population. 
After  about  1870  the  multiplication  of  choral 
societies  of  dignified  ambition  and  persistent 


energy  set  in  with  notable  results.  They 
have  now  become  so  numerous  that  no  ade- 
quate catalogue  of  them  is  practicable. ' 

'CHOROPHONE'  is  the  trade-name  of  a 
small  pipe-organ  devised  by  the  Austin  Organ 
Company  of  Hartford,  Conn.,  to  supply  the 
needs  of  churches  that  cannot  afford  expensive 
instruments.  By  ingenious  extensions  and 
duplexing  of  a  few  stops  much  variety,  flexi- 
bility and  sonority  are  obtained.  There  are 
two  manuals  and  pedal,  controlled  from  a 
standard  console. 

CHRISTIANI,  ADOLF  FRIEDRICH 
(1836-1885).     See  Register,  5. 

CHRISTIANSEN,  F.  MELIUS.  See  Col- 
leges, 3  (St.  Olaf  C,  Minn.). 

CHRISTY,  EDWIN  T.     See  Register,  4. 

CHURCH  COMPANY,  THE  JOHN,  of 
Cincinnati,  was  founded  in  1854  by  John 
Church  as  a  music-publishing  business,  to 
which  was  added  dealing  in  all  kinds  of 
musical  merchandise.  After  the  Chicago 
fire  of  1871  this  Company  acquired  the  business 
formerly  carried  on  in  Chicago  by  Root  & 
Cady.  From  about  1875  it  shared  with 
Biglow  &  Main  of  New  York  the  publication 
of  the  'Gospel  Hymns'  series.  It  has  also 
given  much  attention  to  music  for  both 
instrumental  and  vocal  instruction,  and  of 
late  years  has  put  forth  many  works  of  still 
higher  class.  Since  about  1908  piano-making 
has  been  added,  and  the  Company  is  now  the 
owner  of  the  Everett  and  Harvard  pianos  as 
well. 

CHURCH  CHORAL  SOCIETY,  THE,  of 
New  York.  See  Vol.  iii.  367-8,  and  add  that 
Mr.  Warren  continued  as  leader  till  1907. 
[A  society  of  the  same  name  was  formed  in 
1852  by  Edward  Hodges,  the  organist  of 
Trinity  Church,  and  under  its  auspices  choral 
services  were  first  held  in  that  church.] 

'CHURCH  MUSIC  See  Vol.  iii.  688,  and 
add  that  Rev.  Hugh  T.  Henry  continued  as 
editor  till  1909. 

CHURCH  MUSIC  ASSOCIATION,  THE, 
of  New  York,  was  formed  in  1868  through  the 
efforts  of  George  T.  Strong,  with  Dr.  James 
Pech,  then  organist  of  St.  John's  Chapel,  as 
conductor,  succeeded  soon  by  Charles  E. 
Horsley.  Although  an  exclusive,  social  enter- 
prise and  by  no  means  limited  to  sacred  music, 
it  perhaps  prepared  for  the  foundation  in  1873 
of  the  Oratorio  Society. 

tCILEA,  FRANCESCO  (July  23,  1866, 
Palmi,  Italy).  See  article  in  Vol.  v.  624. 
His  'Poema  Sinfonico,'  for  solo,  chorus  and 
orchestra,  was  given  at  Genoa  in   1913.     In 

1  In  Who^s  Who  in  Music,  1918,  a  list  of  over  400 
is  given,  which,  however,  is  far  from  complete.  It  is 
interesting  to  note  that  in  this  imperfect  list  there 
are  over  100  societies  more  or  less  of  the  'oratorio' 
class,  located  in  over  30  States,  besides  perhaps  15 
in  Canada. 


CINCINNATI  CONSERVATORY 


CLAPP 


163 


1908  he  was  made  an  Officer  of  the  Order  of 
the  Crown  of  Italy.  He  was  director  of  the 
Conservatory  at  Palermo  in  1913-16,  and  since 
1916  has  been  director  of  the  Conservatory 
at  Naples. 

CINCINNATI  CONSERVATORY  OF 
MUSIC,  THE,  was  started  in  1867  by  Clara 
Baiu-,  who  continued  in  charge  till  her  death 
in  1912,  being  then  succeeded  by  her  niece 
Bertha  Baur.  Its  original  plan  was  more  or 
less  modeled  after  that  of  the  Stuttgart  Con- 
servatory. Emphasis  has  always  been  laid 
upon  general  education  in  connection  with 
special  musical  training,  both  by  requiring 
at  least  high-school  preparation  from  all  who 
seek  to  graduate,  by  providing  some  literary 
advantages  in  the  Conservatory,  and  by  urging 
all  looking  forward  to  a  musical  career  to  take 
a  general  college  course  besides  their  Con- 
servatory course.  Since  its  beginning  the 
Conservatory  has  maintained  a  summer- 
school,  which  has  contributed  much  to  its 
success.  The  instruction  is  arranged  in  five 
grades  —  Juvenile,  Preparatory,  Normal, 
Artist  and  Master.  The  faculty  numbers 
about  75.  The  usual  enrollment  is  from  1200 
to  1500.  A  noteworthy  feature  is  the  Student 
Orchestra,  which  for  more  than  thirty  years 
has  been  led  by  Pier  A.  Tirindelli.  The 
department  of  opera  is  also  strongly  empha- 
sized. In  1918  a  performance  of  Laparra's 
'La  Habanera'  was  given  to  the  satisfaction 
of  the  composer,  who  was  present.  Since 
1902  the  institution  has  occupied  spacious 
grounds  on  Highland  Avenue  with  four 
principal  buildings  finely  adapted  to  its  use. 

CINCINNATI  FESTIVALS.  See  Vol.  i. 
537-8.  The  long-extended  leadership  of 
Thomas  continued  till  1904,  when  he  was 
followed  till  1912  by  Frank  Van  der  Stucken, 
in  1914  and  1916  by  Ernst  Kunwald,  and  in 
1918  by  Eugene  Ysaye.  In  1906  Elgar  also 
conducted  four  of  his  own  works.  The  record 
of  principal  choral  works  is  as  follows : 

1904.  Bach,  Mass  in  B  minor;  Elgar,  'The 
Dream  of  Gerontius ' ;    Beethoven,  Missa  Solemnis. 

1906.  Elgar,  'The  Apostles,'  'The  Dream  of 
Gerontius';  Brahms,  Requiem;  Bach,  'Actus 
Tragicus';    Beethoven's  'Choral'  Symphony. 

1908.  Bach,  St.  Matthew  Passion;  Pierng,  'The 
Children's  Crusade.' 

1910.  Handel,  'Judas  Maccabseus';  Beethoven, 
Missa  Solemnis;    Berlioz,  'Les  Troyens.' 

1912.  Mendelssohn,  'Elijah';  Berlioz,  Requiem; 
Franck,  'Les  Beatitudes';  Wolf-Ferrari,  'La  Vita 
Nuova.' 

1914.  Bach,  Mass  in  B  minor;  Beethoven, 
'Choral'  Symphony;  Berlioz,  'The  Damnation  of 
Faust';    Verdi,  Requiem. 

1916.  Beethoven,  Missa  Solemnis ;  Mendelssohn, 
'St.  Paul';    Pierne,  'The  Children's  Crusade.' 

1918.  Bach,  St.  Matthew  Passion;  Haydn,  'The 
Creation' ;  Kelley,  'Pilgrim's  Progress.' 

CINCINNATI  SYMPHONY  ORCHES- 
TRA, THE.     See  Vol.  iv.  803.     In  December, 


1909,  after  a  two  years'  interval,  the  Orchestra 
was  reorganized  with  a  competent  force  of  70 
players  under  Leopold  Stokowski,  who  rapidly 
brought  it  to  notable  efficiency.  On  his 
resignation  in  1912  Ernest  Kunwald,  formerly 
of  the  Berlin  Philharmonic,  succeeded  as 
conductor.  In  1913  the  players  were  in- 
creased to  85,  in  1914  the  regular  season 
lengthened  from  twenty-four  to  thirty-two 
concerts,  and  in  1915  the  Orchestra  became 
permanently  endowed  by  the  bequest  of 
$700,000  in  the  will  of  Martha  Cora  Dow.     In 

1917  Kunwald  offered  to  resign  in  the  fall, 
but  was  persuaded  to  go  on.  In  December, 
however,  he  was  arrested  as  an  enemy  alien 
and   his  resignation  was   then   accepted.     In 

1918  various  guest-conductors  appeared,  in- 
cluding Walter  Roth  well,  Victor  Herbert, 
Henry  Hadley,  Ossip  Gabrilovitch  and 
Eugene  Ysaye.  In  May  of  that  year  the 
latter  was  appointed  permanent  conductor. 

CISNEROS,  ELEONORA  DE,  n6e  Broad- 
foot  (Nov.  1,  1880,  New  York),  made  her 
debut  as  Rossweise  in  'Die  Walkiire'  at  the 
Metropolitan  Opera  House  in  1900.  She  was 
then  a  pupil  of  Mme.  Murio-Celli,  but  had  not 
been  abroad.  On  fidouard  de  Reszke's 
advice  she  now  went  to  Paris  and  Italy  to 
study  with  his  brother  Jean,  Maurel,  Traba- 
dello  and  Lombardi.  Her  success  as  stage- 
soprano  was  immediate,  so  that  since  1902 
she  has  sung,  often  for  successive  seasons,  in 
all  the  leading  European  opera-houses  and  in 
Cuba,  Brazil  and  Australia  besides.  In  1906- 
08  she  was  a  principal  artist  at  the  Manhattan 
Opera  House  in  New  York,  leaving  for  Milan 
to  create  the  role  of  Clytemnestra  in  Strauss' 
'Elektra.'  In  1909  she  took  the  part  of 
Eboli  at  the  revival  of  Verdi's  'Don  Carlos.' 
In  1910  she  sang  in  'Aida'  at  the  inaugural 
performance  of  the  Chicago  Opera  Company, 
with  which  she  has  since  been  identified.  Her 
last  European  engagement  was  at  the  Champs 
Elysees  in  Paris  in  1914,  when  she  sang  '  Tristan 
und  Isolde'  in  German.  In  1915-16  she  was 
with  the  Havana  Opera  Company.  She  has 
also  sung  in  concert  in  Honolulu  and  in 
Australia  and  New  Zealand.  In  1907  she 
married  Count  Francesco  de  Cisneros.     [  R.9  ] 

CLAASSEN,  ARTHUR  (1859-1920).  See 
Register,  7. 

CLAPP,  PHILIP  GREELEY  (Aug.  4, 
1888,  Boston),  began  lessons  at  six  with  an 
aunt,  Mrs.  Mary  C.  A.  James.  Later  he 
studied  piano  and  theory  with  J.  P.  Marshall 
and  violin  with  Jacques  Hoffman.  He  pre- 
pared for  college  at  the  Roxbury  Latin  School, 
and  at  Harvard  completed  the  course  in  three 
years,  receiving  his  A.B.  in  1908  magna  cum 
laude.  A  large  part  of  his  course  consisted 
of  work  in  composition,  orchestration,  etc., 
offered   in    the   musical    department,    chiefly 


164 


CLARK 


CLARKE 


under  Spalding.  He  remained  for  a  fourth 
year,  receiving  the  degree  of  A.M.  with 
highest  final  honors  in  music  in  1909.  He 
also  won  the  Boott  Prize  in  1907  for  a  con- 
certed vocal  composition.  For  two  years  he 
was  conductor  of  the  Pierian  Sodality,  and  was 
elected  chorister  by  the  class  of  1909.  In 
1909-11  he  studied  in  Europe  as  Sheldon 
Fellow  of  the  University,  emphasizing  com- 
position in  Stuttgart  with  Schillings  and  the 
aesthetics  of  music  at  the  British  Museum.  In 
1911  he  received  the  degree  of  Ph.D.  from 
Harvard,  presenting  original  compositions 
and  a  thesis  on  '  Modern  Tendencies  in  Musical 
Form.'  In  1911-12  he  was  assistant  in  music 
at  Harvard ;  in  1912-14  instructor  in  music 
at  the  Middlesex  School  in  Concord,  Mass. ; 
in  1914-15  acting  director  of  the  School  of 
Music  in  Gloucester,  Mass.  In  1915-19  he 
was  director  of  music  at  Dartmouth  College, 
with  leave  of  absence  for  service  as  band- 
leader with  the  73rd  Artillery,  A.  E.  F.,  in 
France.  In  1919  he  became  professor  of  music 
at  the  State  University  of  Iowa  in  Iowa  City. 
Since  1909  he  has  been  a  frequent  contributor 
to  the  Boston  'Evening  Transcript'  on  various 
musical  subjects.  In  1913  he  conducted  the 
Cincinnati  Symphony  Orchestra  for  two  weeks 
in  an  emei'gency  caused  by  Kunwald's  illness. 
His  compositions  include  the  tone-poem 
'Norge,'  for  orchestra  and  piano,  written  for 
the  centennial  of  the  Pierian  Sodality  in  1908 
(also  Boston  Symphony  Orchestra,  1909) ; 
a  string-quartet  in  C  minor  (1909,  not  yet 
performed) ;  the  tone-poem  'A  Song  of 
Youth,'  for  orchestra  (privately  given  in 
Stuttgart  in  1910  by  the  Court  Orchestra, 
the  composer  conducting) ;  Symphony  in 
E  minor  (1911,  revised  1913,  given  in  1914  by 
the  Boston  Symphony  Orchestra,  the  com- 
poser conducting);  a  'Dramatic  Poem,'  for 
trombone  and  orchestra  (1912,  written  to 
show  the  capacity  of  the  Sax  7-valve  trombone 
played  by  Modest  AUoo,  given  in  New  York 
by  M.  AUoo  and  the  Pierian  Sodality,  the 
composer  conducting) ;  the  orchestral  prel- 
ude 'In  Summer'  (1913,  given  in  1914  by  the 
St.  Louis  Symphony  Orchestra) ;  Symphony 
in  E-flat  (1916,  given  in  1917  by  the  Boston 
Symphony  Orchestra,  the  composer  con- 
ducting) ;  stage-music  for  the  Pageant  of 
the  Massachusetts  Agricultural  College  (1917, 
given  in  1920) ;  Symphony  in  A  (1918-19) ; 
and  several  songs  and  part-songs,  a  few  with 
orchestral  accompaniment.     [  11.9  ] 

CLARK,  CHARLES  WILLIAM  (b.  1865). 
See  Register,  8. 

CLARK,  JOHN.     See  Register,  3. 

CLARK,  MELVILLE  (d.  1918).  See  Reg- 
ister, 6. 

CLARK,  MELVILLE  ANTONE  (b.  1883). 
See  Register,  10. 


CLARK  COMPANY,  THE  MELVILLE, 
of  Chicago,  was  organized  in  1900  to  utilize  the 
various  patents  of  Melville  Clark.  Besides 
making  pianos,  including  a  small  grand  of  novel 
design,  the  firm  specializes  in  player-pianos,  us- 
ing devices  under  the  trade-name  of  '  Apollo.' 

CLARKE,  HERBERT  LINCOLN  (b. 
1867).     See  Register,  7. 

CLARKE,  HUGH  ARCHIBALD  (Aug.  15, 
1839,  near  Toronto,  Ont.),  was  the  son  of  the 
Canadian  organist  James  P.  Clarke,  who  was 
his  only  teacher.  He  came  to  Philadelphia 
in  1859,  served  as  organist  in  several  churches 
(till  1897),  and  for  some  years  conducted  the 
Abt  Male  Chorus.  In  1875  he  became 
professor  in  the  University  of  Pennsylvania, 
teaching  harmony,  counterpoint,  orchestration 
and  musical  form,  and  this  position  he  still 
holds.  In  1886  the  University  conferred  on 
him  the  degree  of  Mus.D.,  after  the  perform- 
ance of  his  overture  and  choruses  for  Aris- 
tophanes' 'Acharnians.'  He  has  also  written 
music  for  Euripides'  '  Iphigenia  in  Tauris,'  the 
oratorio  'Jerusalem'  (Philadelphia,  1891), 
a  piano-quartet  and  several  sonatas  for  violin 
and  piano.  Of  his  many  songs  a  few  are  pub- 
lished. His  treatises  on  Harmony  and 
Counterpoint  have  been  largely  used.  He  is 
also  the  author  of  The  Scratch  Club,  1888,  a 
Dictionary  of  Musical  Terms,  1896,  Music 
a?id  the  Comrade  Arts,  1899,  and  Highways 
and  Byways  of  Music,  1901.  As  an  educator 
and  lecturer  he  has  exerted  a  wide  and  salutary 
influence.  The  late  Dr.  Gilchrist  was  one  of 
his  pupils.     [  R.5  ] 

CLARKE,  JAMES  PEYTON  (1808-1877). 
See  Register,  4. 

CLARKE,  WILLIAM  HORATIO  (Mar. 
8,  1840,  Newton,  Mass.  :  Dec.  11,  1913, 
Reading,  Mass.),  at  sixteen  became  organist 
at  Dedham,  Mass.,  and  three  years  later  at 
Berkeley  Temple  in  Boston,  teaching  also 
in  the  Perkins  Institute  for  the  Blind.  In 
1871  he  became  music-superintendent  in  the 
schools  of  Dayton,  O.,  later  removing  to 
Indianapolis  as  organist  and  organ-builder. 
In  1878-87  he  was  organist  at  Tremont 
Temple  in  Boston.  After  retiring  in  1887 
he  was  much  sought  as  consulting-expert 
in  organ-building.  In  1890  he  erected  on  his 
estate  at  Reading  a  music-chapel,  'Clarigold 
Hall,'  which  contained  a  four-manual  organ 
of  100  stops.  Illness  prevented  his  plan  for 
establishing  there  a  school  for  organ-instruc- 
tion. He  wrote  An  Outline  of  the  Structure 
of  the  Pipe-Organ,  1877,  The  Organist's  Ret- 
rospect, 1896,  and  Standard  Organ-Building, 
1913,  and  besides  several  non-musical  books, 
prepared  instruction-books  for  piano,  organ 
and  voice,  and  composed  organ-pieces  and 
church-music.  Three  sons  took  up  musical 
careers,  Herbert  L.  Clarke  (b.  1867)  becoming 


CLASS 


CLIFTON 


165 


a  widely-known  cornet-virtuoso  and  band- 
master.    [  R.4  ] 

CLASS,  FRANKLIN  MORRIS  (May  2, 
1881,  New  York),  graduated  from  Harvard 
in  1903  (cum  laude  in  music)  and  as  M.D. 
from  Columbia  in  1907,  then  becoming  an 
attending  physician  at  Bellevue  Hospital  in 
New  York.  At  Harvard  he  studied  under 
Paine.  He  has  composed  three  volumes  of 
piano-music;  five  'Intermezzi,'  op.  6;  five 
'Vignettes,'  op.  7  (Ditson) ;  five  'Pieces  for 
Piano'  (Church);  and  some  30  songs  (Schir- 
mer,  Ditson,  Breitkopf).  His  opereitta  'Hasty 
Pudding'  was  performed  at  Harvard  in  1903. 
Unpublished  are  a  string-quartet,  various 
pieces  for  piano,  violin,  'cello  and  flute,  and 
some  motets.     [  R.9  ] 

CLAUSSEN,  JULIA  (b.  1879).  See  Reg- 
ister, 10. 

CLEMENS,  CHARLES  EDWIN  (Mar.  12, 
1858,  Devonport,  England),  had  his  first  ap- 
pointment as  organist  when  only  eleven.  He 
studied  under  local  teachers,  with  occasional 
lessons  from  cathedral  organists,  and  became 
active  as  pianist,  organist  and  viola-player. 
Going  to  London,  he  entered  the  Royal  College 
of  Music,  studying  piano  with  Pauer.  On 
Grove's  advice  he  finally  made  the  organ  his 
chief  study,  his  teachers  being  Weekes,  Martin 
and  Bridge.  From  1889  he  taught  organ  and 
harmony  at  the  Klindworth  Conservatory  in 
Berlin  and  was  organist  of  the  Royal  Chapel 
(English).  From  1896  he  was  organist  at 
St.  Paul's  in  Cleveland.  In  1899  he  began 
lecturing  on  music-history  at  Western  Reserve 
University,  and  soon  was  appointed  organist 
and  professor.  Since  1911  he  has  been 
organist  at  the  Euclid  Avenue  Presbyterian 
Church.  The  University  made  him  Mus. 
D.  in  1916.  His  Modern  Progressive  Pedal- 
Technique,  2  vols.,  1894  (Breitkopf),  and  The 
Modern  School  for  the  Organ,  1903  (Schirmer), 
are  both  popular  works.  A  treatise  on 
Harmony  is  still  unpublished,  though  used 
in  classes  at  the  University.     [  R.8  ] 

CLEMENS,  CLARA  (1871?,  Elmira,  N. 
Y.),  the  daughter  of  'Mark  Twain',  spent 
her  childhood  in  Hartford,  Conn.  She  was 
allowed  to  take  lessons  on  the  piano  when 
she  was  six  years  old.  Later  she  studied  with 
Moszkowski  and  also  Leschetizky.  Meantime 
her  voice  was  discovered  and  she  began  to 
prepare  herself  for  concert-singing,  abandoning 
the  piano.  In  1904  she  made  her  debut  in 
Florence,  where  her  voice  was  likened  to 
Scalchi's,  but  her  career  was  then  interrupted 
by  several  years  of  illness.  In  1909  she  married 
the  Russian  pianist  Gabrilovitch,  and  in  1912 
resumed  singing  in  Germany  and  appeared 
often  in  the  principal  cities.  Since  1914  she 
has  been  in  America,  touring  extensively 
and  giving  recitals  both  alone  and  with   her 


husband.  Her  voice  is  a  mezzocontralto, 
with  a  range  of  over  two  octaves.      [  R.9  ] 

CLEMENT,  EDMOND  (b.  1867).  See 
Register,  9. 

'CLEOPATRA'S  NIGHT.'  A  two-act 
opera  by  Henry  K.  Hadley,  the  libretto  by 
Mrs.  Alice  Leal  Pollock  (after  Gauthier).  It 
was  first  given  at  the  Metropolitan  Opera 
House  on  Jan.  31,  1920. 

CLEVELAND  CONSERVATORY  OF 
MUSIC,  THE,  was  founded  in  1881.  Its  di- 
rectors have  been  Franklin  Bassett  from  1882 
to  1915  and  Charles  Heydler  since  1885.  For 
a  time  from  1888  it  was  affiliated  with  Western 
Reserve  University  as  a  music-department. 

CLEVELAND  SCHOOL  OF  MUSIC, 
THE,  was  started  in  1885  by  Alfred  Arthur, 
who  remained  at  its  head  till  his  death  in  1918. 

CLEVELAND  SYMPHONY  ORCHES- 
TRA, THE,  was  organized  in  1918  under  the 
auspices  of  the  Musical  Arts  Association,  in 
which  Mrs.  Adella  P.  Hughes  is  the  moving 
spirit.  The  aim  is  two-fold,  to  provide  superior 
concerts  for  patrons  and  to  serve  the  whole 
community  through  so-called  '  popular  '  per- 
formances. Under  the  skillful  leadership  of 
Nikolai  Sokoloff  both  purposes  have  been 
strikingly  achieved.  There  are  about  15  sym- 
phony concerts  and  at  least  45  others,  besides 
many  outside  of  Cleveland.  The  larger  con- 
certs are  given  in  the  New  Masonic  Hall, 
erected  in  1919.  The  number  of  players  ranges 
from  75  to  85.  From  1920  Arthur  Shepherd 
is  to  be  assistant-conductor.  The  concertmas- 
ter  is  Louis  Edlin.  The  enterprise  is  in  part 
supported  by  a  considerable  maintenance-fund, 
secured  by  annual  subscription.  As  a  part  of 
its  plan  of  popular  education,  some  fifteen  of 
the  players  give  instruction'on  their  instruments 
in  the  public-school  system. 

Besides  gradually  pushing  its  way  into  the 
general  symphonic  repertory,  the  Orchestra  has 
already  given  special  attention  to  American 
composition,  including  Beck's  Overture  to 
'Lara,'  Griffes'  '  Shojo,'  Herbert's  'American 
Fantasy,'  Hill's  '  Stevensoniana,'  Hopekirk's 
'  Sundown,'  two  movements  from  Kelley's 
'Aladdin'  Suite,  Loeffler's  'Pagan  Poem,' 
MacDowell's  'Indian  Suite,'  Rogers'  'The 
Name  of  France,'  Skilton's  'Two  Indian 
Dances,'  W.  G.  Smith's  'Autumn  Suite'  and 
two  pictures  of  Whithorne's,  '  The  Night '  and 
'  The  Rain.'  Several  choral  works  have  been 
given  with  the  Oberlin  Musical  Union  and  the 
Mendelssohn  choir  of  Pittsburgh. 

Earlier  orchestras  in  Cleveland  were  those 
led  by  George  Lehmann  in  1886-89  and  by 
Johann  H.  Beck  from  1899. 

CLIFTON,  ARTHUR.  See  Ttjnk-Books, 
1819. 

CLIFTON,  CHALMERS  (Apr.  30,  1889, 
Jackson,    Miss.),    studied    at    the    Cincinnati 


166 


CLIPPINGER 


CLOUGH  &  WARREN 


Consen-atory  in  1903-08,  graduating  with 
distinction  in  1907.  He  then  entered  Harvard 
and  in  1912  graduated  summa  cum  lavde,  with 
highest  honors  in  music.  He  conducted  the 
first  MacDowell  Festival  at  Peterboro,  N.  H., 
in  1910.  As  Sheldon  Fellow  of  Harvard  in 
1912-14  he  was  a  pupil  in  Paris  of  d'Indy  and 
Gedalge.  A  few  months  spent  in  Russia  in 
1913  also  made  a  deep  impression  upon  him. 
Returning  to  America  in  July,  1914,  he  con- 
ducted the  first  performance  of  E.  B.  Hill's 
pantomime,  'Pan  and  the  Star,'  at  the  Mac- 
Dowell Festival  in  Peterboro  in  August,  and 
other  performances  in  Boston  and  Cincinnati 
in  1914-15.  He  composed  and  conducted 
music  for  the  Lexington  (Mass.)  Pageant  in 
June,  1915,  commemorating  one  hundred  and 
forty  yeiars  of  American  Independence.  In 
1915-17  he  followed  Mees  and  Gideon  as  con- 
ductor of  the  Cecilia  Society  of  Boston,  during 
which  time  he  conducted  the  first  performance 
in  America  of  d'Indy's  'Chant  de  la  Cloche.' 
At  the  outbreak  of  the  war,  after  several 
attempts  to  enter  the  service,  he  went  to 
Paris  as  one  of  the  Harvard  representatives 
in  the  American  University  Union,  was  com- 
missioned 2nd  Lieutenant  (Infantry)  in  March 
and  was  attached  to  the  Intelligence  Section 
under  Col.  Cabot  Ward.  He  was  promoted 
1st  Lieutenant  in  February,  1919,  and  hon- 
orably discharged  in  May.  He  conducted 
a  concert  of  American  music  with  the  Soci6te 
des  Concerts  at  the  Conservatoire  on  May 
26,  1919,  the  program  including  works  by 
Converse,  MacDowell  and  Gilbert.  His  com- 
positions are  two  sonatas  for  piano ;  '  The 
Poppy,'  a  poem  for  tenor  and  orchestra ; 
music  for  '  A  Pageant  of  Lexington ' ;  and 
songs.  He  has  written  articles  for  the  Bos- 
ton 'Transcript'  and  notes  on  Massenet, 
Saint-Saens  and  'Solo'  in  The  Art  of  Music. 
[  R.IO  ] 

CLIPPINGER,  DAVID  A.  (Sept.  2,  1860, 
O.),  began  to  teach  singing-schools  when  only 
a  lad  of  sixteen.  He  attended  the  North- 
western Ohio  Normal  University  and  the  Fort 
Wayne  (Ind.)  Conservatory.  His  vocal  study 
was  with  Lyman  W^heeler  in  Boston,  F.  W. 
Root  in  Chicago,  Hey  in  Berlin,  and  Shake- 
speare and  Behnke  in  London.  Later  he 
coached  with  Randegger,  Henschel  and  Van 
Bos.  He  also  studied  theory  with  Eugene 
Thayer  in  New  York  and  Gleason  in  Chicago. 
For  two  years  he  taught  at  Fort  Wayne,  but 
in  1887  removed  to  Chicago,  where  he  has 
since  been  a  leading  teacher  of  singing,  con- 
ductor and  author.  He  has  written  The 
Development  of  the  Singing-Voice,  Systematic 
Voice-Training,  The  Head-Voice  and  Other 
Problems,  The  Elements  of  Voice-Culture  — 
Studio  Notes  Nos.  1,  2,  and  3,  besides  many 
articles  on  vocal  topics.     For  four  years  he 


was  editor  of  the  'Western  Musical  Herald,' 
and  at  present  he  is  associate-editor  of  'The 
Musical  Monitor.'  In  1900  he  organized 
the  Chicago  Madrigal  Club,  which  has  not 
only  won  renown  by  its  performances,  but 
stimulated  composition  by  an  annual  prize 
of  $100  for  the  most  acceptable  madrigal. 
In  addition,  he  conducts  the  Carson,  Pirie, 
Scott  &  Co.  chorus  (175  voices),  the  Swift 
&  Co.  Male  Chorus  (75  voices),  the  Swift  & 
Co.  Female  Chorus  (100  voices)  and  the 
Berwyn  Choral  Society.  He  is  active  in  both 
State  and  National  Music  Teachers'  Asso- 
ciations.    [  R.7  ] 

CLOUGH-LEIGHTER.i  HENRY  (May  13, 
1874,  Washington),  began  his  general  educa- 
tion at  the  Columbian  University  in  Wash- 
ington, where  he  held  a  scholarship  at  thirteen, 
but  gave  it  up  for  music.  He  had  been 
chorister  at  St.  John's,  and,  after  taking  up  the 
organ  with  G.  W.  Walter,  from  1888  was  organ- 
ist at  various  churches  in  Washington,  includ- 
ing Epiphany  in  1892-99.  Meanwhile  he  was 
pursuing  theoretical  study  with  Edward 
Kimball,  Henry  Zander  and  Dr.  Anger  of 
Toronto.  In  1899-1900  he  was  organist  at 
Grace  Church  in  Providence,  in  1900-01  at 
Christ  Church  there  and  also  music-supervisor 
in  Westerly,  R.  I.,  and  teacher  at  the  Howe 
School  in  Boston,  and  since  1901  has  been  in 
editorial  work  in  Boston,  in  1901-08  with 
the  Ditson  Company  and  from  1908  with  the 
Boston  Music  Company.  Since  1901  he  has 
also  been  organist  at  Milton,  Mass.  His 
published  works  include  five  cantatas  with 
organ  or  orchestra;  a  lyric  suite,  'The  Day 
of  Beauty,'  for  solo,  piano  and  string-quartet ; 
the  symphonic  ballad  'Lasca,'  for  tenor  and 
orchestra;  the  Victorian  ode  'Recessional,' 
for  chorus  and  orchestra ;  the  symphonic 
ode  'The  Christ  of  the  Andes,'  for  chorus 
and  orchestra,  op.  64 ;  many  song-cycles ; 
over  100  songs,  and  a  like  number  of  choral 
works.  He  has  made  many  tra;Dscription3 
for  organ,  particularly  of  modern  works,  and 
has  edited  a  great  number  of  musical,  technical 
and  pedagogical  works.  He  has  newly  edited 
and  revised  Anger's  Treatise  on  Harmony. 
[  R.7  ] 

CLOUGH  &  WARREN  COMPANY,  THE, 
of  Detroit,  started  in  1850  as  Simmons  & 
Clough  and  gradually  built  up  a  fine  repu- 
tation as  makers  of  reed-organs,  particularly 
from  1870,  when  the  firm  was  reorganized 
vmder  its  present  name.  They  applied 
'  qualifying  tubes '  in  connection  with  the  reeds, 
securing  an  unusual  fullness  of  tone.  Adding 
the  making  of  pipe-organs,  from  1889  they 
were  interested  in  developing  the  Austin 
'universal  wind-chest.'     Since  1900  they  have 

1  Also  Clough-Leiter.  The  '  Clough '  was  added  at 
his  birth  to  perpetuate  a  family  surname. 


COERNE 


COERNE 


167 


turned  to  making  pianos,  player-pianos  and 
'  Manophone '  phonographs. 

COERNE,  LOUIS  ADOLPHE  (Feb.  27, 
1870,  Newark,  N.  J.),  whose  father  was  of 
Dutch  and  Swedish  derivation,  was  early 
educated  in  Germany  and  France,  graduated 
from  the  Boston  Latin  School  in  1888,  and 
attended  Harvard  University  in  1888-90, 
studying  harmony  and  composition  with 
Paine  and  violin  with  Kneisel.  From  1890 
he  attended  the  Royal  Academy  at  Munich, 
where  he  took  organ  and  composition  with 
Rheinberger,  violin  and  conducting  with  Abel, 
and  graduated  with  highest  honors  in  1S93. 
Returning  to  Boston,  he  conducted  his  sym- 
phonic poem  'Hiawatha'  with  the  Boston 
Symphony  Orchestra  in  1894,  and  was  called 
to  Buffalo,  where  in  1894-97  he  was  musical 
director  of  the  Vocal  Society,  the  Liedertafel 
and  at  the  Church  of  the  Messiah.  In  1897- 
99  he  was  in  Columbus  as  musical  director 
at  Trinity  Church,  and  of  the  Arion  Club 
and  the  Mannerchor.  In  1899-1902  he  was 
again  abroad,  composing  and  publishing; 
he  also  completed  and  edited  Rheinberger's 
posthumous  Mass  in  A  minor.  Returning 
in  1902,  he  had  charge  of  the  music-depart- 
ment at  Harvard  in  the  summer  session  of 
1903,  was  associate-professor  at  Smith  College 
in  1903-04,  and  in  1904-05  was  engaged  in 
research-work  in  New  York  and  at  Harvard, 
writing  The  Evolution  of  Modern  Orchestration 
(1908),  and  receiving  for  it  a  Ph.D.  from 
Harvard  —  the  first  bestowal  of  that  degree 
for  special  work  in  music.  In  1905-07  he  again 
lived  and  traveled  abroad,  and  was  present 
at  five  renderings  of  his  opera  'Zenobia'  at 
Bremen  under  the  direction  of  Pollak,  this 
being  the  first  performance  in  Europe  of  a 
grand  opera  by  a  native  of  the  United  States. 
In  1907-09  he  was  engaged  as  musical  director 
at  Troy,  N.  Y.,  and  in  1909-10  was  director 
of  the  conservatory  at  Olivet  College,  where 
he  received  the  degree  of  Mus.D.  He  then 
became  professor  and  director  of  the  School 
of  Music  at  the  University  of  Wisconsin, 
being  also  organist  at  the  Congregational 
Church  and  leader  of  the  Mannerchor.  In  1915 
he  became  professor  at  the  Connecticut  College 
for  Women  in  New  London.  His  compositions 
number  over  500,  of  which  over  300  have  been 
published.     They  include 

Fantasy  in  A,  op.  5,  for  orchestra. 

Concerto-Overture  in  D,  op.  7,  for  orchestra. 

Suite  in  D  minor,  op.  10,  for  strings  (1892,  Stuttgart). 

Concerto  in  E,  op.  12,  for  organ,  strings,  horns, 
and  harp  (1892,  Munich,  also  Columbian  Exposition, 
1893,  Buffalo,  1895). 

Ballet,  'Evadne,'  op.  15  (extracts,  Boston  Sym- 
phony Orchestra,  1894). 

Symphonic  Poem,  'Hiawatha,'  op.  18  (1893,  Mu- 
nich and  Chicago,  also  Cambridge,  Mass.,  Boston 
Symphony  Orchestra,  1894). 

String-Quartet  in  C  minor,  op.  19. 


Jnbilee  March  in  E-flat,  op.  20,  for  military  band 
(1893,  Columbian  Exposition  and  New  York,  also 
Buffalo,  1895,  Columbus,  1898). 

Overture,  op.  36,  for  orchestra. 

Tone- Picture,  op.  39,  for  orchestra. 

'A  Woman  of  Marblehead,'  opera  in  two  acts,  op. 
40  (extracts,  Buffalo  Symphony  Orchestra,  1897). 

'Beloved  America,'  patriotic  hymn,  op.  41,  for 
male  chorus  and  orchestra  (1896,  Buffalo). 

Festival  Cantata,  op.  45,  for  soli,  chorus  and  or- 
chestra. 

Festival  Morning  and  Communion  Services  in  A, 
opp.  46—47. 

Concert-Piece  in  E,  op.  48,  for  piano  (1910,  Madi- 
son, Wis.). 

'Talitha  Cumi',  sacred  cantata,  op.  50,  or  soli, 
chorus,  organ,  strings  and  harp. 

'Romantic'  Violin-Concerto  in  G  minor,  op.  51, 
with  orchestra. 

Mass  in  D  minor,  op.  53,  for  six  voices  a  cappella, 
organ  ad  libitum  (Leuckart). 

Tone-Poem,  op.  59,  for  orchestra. 

'Swedish'  Sonata  in  A  minor,  op.  60,  for  violin 
and  piano  (1904,  Colorado  Springs,  also  Stuttgart, 
1906,  Madison,  Wis.,  1910,  New  London,  1916) 
(Hofmeister). 

Three  Trios  in  Canon,  op.  62,  for  violin,  'cello 
and  piano  (Bosworth). 

Concertino  in  D,  op.  63,  for  violin  and  piano 
(Bosworth). 

Three  Trios,  op.  64,  for  violin,  'cello  and  piano 
(Andrg). 

'Zenobia,'  opera  in  three  acts,  op.  66  (1905-06, 
Bremen,  also  extracts,  Minneapolis  Orchestra,  1914, 
Chicago  and  St.  Louis  Orchestras,  1915)  (Seemann). 

'Sakuntala,'  a  melodrama,  op.  67  (1904,  Smith 
College,  also  Albany,  N.  Y.,  1914). 

'The  Maiden  Queen,'  operetta,  op.  69. 

Dedication  Ode,  op.  82,  for  orchestra  (opening  of 
Connecticut  College,  1915). 

Incidental  Music  to  'The  Trojan  Women'  of 
Euripides,  op.  113  (1917,  Connecticut  College). 

'Until  the  Day  Break,'  sacred  cantata,  op.  124,  for 
soli,  chorus  and  piano  or  orchestra  (Ditson). 

'A  Song  of  Victory,'  patriotic  cantata,  op.  125,  for 
soli,  chorus  and  piano  or  orchestra  (Ditson). 

'On  Mountain-Crests,'     op.  127,  for  orchestra. 

'Skipper  Ireson's  Ride,'  cantata,  op.  131,  for 
baritone,  chorus  and  piano  or  orchestra  (Ditson). 

'The  Landing  of  the  Pilgrims,'  cantata,  op.  135, 
for  baritone,  chorus  and  piano  or  orchestra  (Ditson). 

Trio,  op.  139,  for  flute,  'cello  and  harp. 

'The  Man  of  Galilee,'  cantata,  op.  141,  for  soli, 
chorus  and  organ  (Schirmer). 

Many  Songs,  mostly  secular,  some  in  '  cycles,'  opp. 
1,  4,  13-4,  21,  23,  27-30,  34,  42-3,  49,  55,  57-8,  68, 
72-3,  76-81,  84,  91,  94,  96,  98,  104,  106,  108,  110,  112, 
116,  119,  123,  128,  130,  140,  148  (Thompson,  Ditson, 
Bosworth,  Breitkopf,  Grueninger,  Schuberth,  Summy, 
Presser,  Boston  Music  Co.,  Flammer,  Schirmer). 

Anthems,  opp.  6,  25,  33,  38  (tunes),  44,  52,  70,  88, 
92,  95,  97,  102,  122,  126,  132  (Thompson,  Ditson, 
Summy,  Schirmer,  Boston  Music  Co.,  Presser). 

Choruses  and  Part-Songs,  opp.  9,  11,  22,  31,  35, 
56,  71,  83,  100,  118,  133-4,  138  (Breitkopf,  Schmidt, 
Summy,  Ditson,  Presser). 

Piano-Pieces  and  Studies,  opp.  3,  8,  17,  32,  54,  74, 
85-7,  89-90,  93,  99,  101,  103,  105,  107,  111,  114,  117, 
120-1,  129,  136-7,  142-5,  147  (Thompson,  Ditson, 
Siegel,   Summy,   Flammer,   Schirmer,   Boston  Music 

Organ-Pieces,  opp.  2, 16,  24,  26,  37, 109  (Thompson, 
Ditson,  Millet,  Schirmer). 

Violin-Pieces,  opp.  61,  65,  75,  1036,  146  (Siegel, 
Summy,  Schirmer).  [  R.8  ] 


168 


COGSWELL 


COLERIDGE-TAYLOR 


COGSWELL,      HAMLIN      ELISHA      (b. 

1852).     See  Register,  6. 

COLBURN,  GEORGE  (b.  1878).  See  Reg- 
ister, 9. 

COLE,  BELLE  (1845-1905).  See  Register, 
5. 

COLE,  ISAAC  P.     See  Tune-Books,  1815. 

COLE,  JOHN  (1774-1855).  See  Tune- 
Books,  1800. 

COLE,  ROSSETTER  GLEASON  (Feb.  5, 
1866,  Clyde,  Mich.),  was  educated  at  Ann 
Arbor,  Mich.,  graduating  from  the  University 
of  Michigan  in  1888.  While  in  college  he  took 
all  the  courses  in  theory  under  C.  B.  Cady. 
At  his  graduation  the  University  Musical 
Society  performed  his  lyric  cantata  'The 
Passing  of  Summer,'  composed  during  his 
senior  year.  For  two  years  he  taught  English 
and  Latin  in  high-schools.  While  in  Berlin 
in  1890-92  he  won  a  scholarship  in  the 
Konigliche  Meisterschule  under  Bruch.  Here 
Van  Eycken  was  also  his  teacher  in  counter- 
point and  composition,  Kogel  in  conducting 
and  Middelschulte  in  organ.  In  1892-94  he 
was  professor  at  Ripon  College  in  Wisconsin. 
In  1894-1901  he  was  at  Grinnell  College  in 
Iowa,  and  in  1907-09  at  the  University  of 
Wisconsin.  In  1901-07  and  since  1909  he 
has  lived  in  Chicago  as  composer,  lecturer, 
teacher  of  composition  and  theory,  and  musical 
writer.  Since  1908  he  has  been  in  charge 
of  the  music-courses  at  the  summer-session 
of  Columbia  University  in  New  York.  In 
1902  and  1909-10  he  was  president  of  the 
M.  T.  N.  A.  and  in  1912-14  dean  of  the  IIU- 
nois  Chapter  of  the  A.  G.  O.  He  has  given 
much  time  to  composition.  His  'Symphonic 
Prelude,'  op.  28,  was  played  by  the  Chicago 
Orchestra  in  1915  and  has  since  been  repeated 
several  times,  and  his  overture  'Pioneer 
(1818-1918),'  op.  35,  was  played  by  the  same 
orchestra  on  Mar.  14-15,  1919,  the  composer 
conducting.  'The  Passing  of  Summer'  (1888) 
was  later  revised  and  published  as  op.  14.  A 
cantata,  'The  Broken  Troth,'  for  women's 
voices,  soli  and  orchestra,  was  performed  by  the 
Chicago  Teachers'  Chorus  in  1917.  Three  reci- 
tations with  musical  settings  are  'Hiawatha's 
Wooing,'  op.  20,  (published  1904) ,' King  Robert 
of  Sicily'  (1906)  and  'Pierrot  Wounded,'  op. 
33  (1917).  'King  Robert'  was  first  given  at 
a  Cincinnati  Orchestra  concert  in  1911,  and 
Bispham,  to  whom  it  is  dedicated,  has  used  it 
over  500  times.  For  the  tercentenary  anni- 
versary in  1920  of  the  settlement  of  Plymouth 
he  wrote  the  cantata  'The  Rock  of  Liberty' 
(Schmidt).  For  organ  are  the  'Fantaisie 
Symphonique,'  op.  28  (1912,  arranged  from 
the  'Symphonic  Prelude'),  'Rhapsody,'  op. 
30,  'Marche  Celeste,'  op.  6  (1896),  'Andante 
Religiose,'  op.  10,  'Meditation,'  op.  29  (1914), 
and  the  two  pieces  of  op.  34,  'A  Song  of  Con- 


solation' and  'A  Song  of  Gratitude'  (1919). 
The  Ballad,  op.  25,  for  'cello  and  orchestra, 
was  performed  by  Carlo  Fischer  and  the 
Minneapolis  Orchestra  in  1909.  For  piano 
there  is  an  effective  'Legend,'  op.  31  (1916), 
and  for  piano  and  violin  a  sonata  in  D,  op. 
8.  His  published  compositions  number  about 
85,  of  which  35  are  songs,  15  piano-pieces, 
8  organ-pieces  and  the  rest  for  chorus,  violin, 
'cello  and  orchestra.  Of  the  songs  the  best 
known  are  '  If '  and  '  What  can  you  do  ? '  from 
a  set  of  eight  children's  songs,  op.  7  (1897) ; 
'Auf  Wiedersehen,'  'A  Kiss  and  a  Tear'  and 
'When  love  is  in  her  eyes,'  op.  12  (1898); 
'My  true  love  hath  my  heart'  and  'Absence,' 
op.  17  (1903);  'Unnumbered,'  op.  18  (1904); 
'When  thou  art  nigh,'  op.  23  (1906);  and 
'Your  lad  and  my  lad'  (1918).  He  prepared 
Vol.  vi.  of  The  Art  of  Music,  on  Church  and 
Choral  Music,  1917.     [  R.8  ] 

COLE,  SAMUEL  WINKLEY  (b.  1848). 
See  Register,  6. 

COLEMAN,  OBED  M.  (1817-1845).  See 
Register,  4. 

t  COLERIDGE-TAYLOR,  SAMUEL  (Aug. 
15,  1875,  London  :  Sept.  1,  1912,  Thorton 
Heath).  See  article  in  Vol.  v.  32-3.  His 
last  year  was  spent  as  a  member  of  the 
faculty  of  the  Guildhall  School  of  Music  in 
London.  In  1904  and  1906  he  made  visits  to 
America,  and  conducted  concerts  of  his  music 
in  many  cities.  To  the  list  of  works  should 
be  added 

op.    60  24  Negro  Melodies,  transcribed  for  piano. 

62  Music  to  'Nero.' 

63  Symphonic   Variations  on  an   African   Air 

(1906,  Philharmonic  Society,  London). 

64  Scenes  de  Ballet,  for  piano. 

65  'Endymion's    Dream,'  Rhapsody    for    so- 

prano  and  tenor,   women's  chorus  and 
orchestra. 

66  'Forest  Scenes,' for  piano. 

67  Three  Part-Songs. 

68  'Bon-bon'  Suite,  for  baritone,  chorus  and 

orchestra  (1909,  Brighton  Musical  Festi- 
val). 

69  'Sea-Drift,'  Rhapsody  for  chorua   a   cap- 

pella. 

70  Music  to  'Faust.' 

71  Valse  Suite,  for  piano. 

72  'Thelma,'  grand  opera  in  three  acts. 

73  Ballade  in  C  minor,  for  violin  and  piano. 
73a  (?)    Four  Part-Songs  for  men's  voices. 

74  'Scenes   from    an    Imaginary   Ballet,'    for 

piano. 

75  'Bamboula,'    Rhapsodic     Dance    for    or- 

chestra   (1910,    Norfolk,    Conn.,    Festi- 
val). 

76  'A  Talc  of  Old  Japan,'  cantata. 

77  'Petite  Suite  de  Concert,'  for  orchestra. 

78  Three  Impromptus,  for  organ. 

79  Incidental  music  to  'Othello.' 

80  Concerto    in    G    minor,     for    violin    and 

orchestra  (1911,  Norfolk  Festival). 

81  'Waiting'  and  'Red  o'  the  Dawn,'  songs 

with  orchestra  (ms). 

82  'Hiawatha,'  ballet  in  five  scenes,  for  or- 

chestra (ms). 


COLLEGE   OF  MUSIC 


COLLEGES 


169 


Without  opus-number. 
Incidental  music  to  'The  Forest  of  Wild  Thyme.' 
Eight  Part-Songs. 
Two  Impromptus,  for  piano. 
Slow    movement     on     a     Negro    Melody,    for 

violin. 
Two  accompaniments  to  the  poems  'Clown  and 

Columbine'  and  'St.  Agnes'  Eve.' 
Two  Song-Albums. 
Some  fifteen  songs. 

Sir  Hubert  Parry  said  of  him :  '  It  was 
the  very  simplicity  and  unconsciousness  of 
his  character  which  caused  the  racial  motives 
and  impulses  to  be  revealed  so  clearly.  He 
had  no  occasion  to  conceal  them ;  and  the 
niche  which  he  made  for  himself  in  musical 
history  derives  its  individuality  from  the 
frankness  with  which  he  revealed  the  qualities 
which  were  the  inevitable  outcome  of  an  ex- 
ceptional and  interesting  combination  of  in- 
fluences.'     ('Musical  Times,'  October,    1912.) 

See  M.  Byron,  A  Day  with  Coleridge-Tay- 
lor, 1912  ;  Anon.,  Golden  Hours  with  Coleridge- 
Taylor,  1913 ;  and  W.  C.  B.  Sayers,  Coleridge- 
Taylor,  His  Life  and  Letters,  1915. 

COLLEGE  OF  MUSIC  OF  CINCINNATI, 
THE,  was  founded  in  1878  through  the 
enthusiasm  of  George  Ward  Nichols  and 
developed  through  the  progressive  liberality 
of  Reuben  R.  Springer,  to  whom  it  owes  its 
endowment  and  much  of  its  equipment. 
Theodore  Thomas  was  director  in  1878-80, 
but  resigned  because  of  disagreement  with 
Nichols  as  to  administrative  policy.  Nichols 
was  succeeded  as  president  in  1885  by  Peter 
Rudolph  Neff,  who  continued  till  1894.  In 
1894-99  Frank  Van  der  Stucken  was  director, 
and  in  1899-1920  Arnold  J.  Gantvoort  was 
general  manager.  From  the  first  the  College 
has  had  close  relations  with  the  Festival 
Association.  The  faculty  numbers  about  25, 
including  many  names  of  national  reputation. 
The  total  number  of  students  since  the  begin- 
ning has  been  about  30,000,  and  the  annual 
enrolment  is  about  700.  There  have  been 
about  500  full  graduates,  besides  perhaps 
1400  receiving  certificates.  The  College  has 
its  own  buildings,  which  contain  unusually 
commodious  concert-halls. 

COLLEGES,  MUSIC  IN.  The  American 
'college'  was  originally  an  adaptation  to 
colonial  conditions  of  a  type  of  institution  for 
higher  education  that  was  prevalent  in  Eng- 
land. The  pioneer  settlers  were  alive  to  the 
importance  of  training  intellectual  and  moral 
leaders.  Of  the  colleges  now  existing  2  date 
from  before  1700,  about  25  from  before  1800, 
and  about  35  from  before  1835.  Though 
technically  organized  in  somewhat  different 
forms,  these  really  exemplified  a  single  type. 
They  were  for  men  only,  especially  of  the 
upper  social  classes,  were  designed  to  prepare 
for   'the  learned   professions,'   especially   tlie 


ministry,  and  offered  a  fixed  four  years'  cur- 
riculum leading  to  the  degree  of  A.B. 

After  about  1835  the  number  of  these  in- 
stitutions increased  rapidly,  but  the  original 
type  was  either  much  modified  or  replaced 
by  new  types.  Colleges  for  men  gradually 
altered  the  balance  of  the  curriculum,  so  as 
to  make  a  more  democratic  appeal  and  prepare 
for  varied  careers,  and  tended  to  allow  increas- 
ing freedom  in  the  choice  of  studies.  The 
new  types  included  colleges  for  women  only, 
those  for  both  sexes,  the  composite  'state 
universities,'  and  a  variety  of  special  or 
occupational  schools.  A  few  of  the  earlier 
colleges  had  had  something  of  a  true  'uni- 
versity' ideal,  and  others  adopted  it,  though 
without  dropping  or  minimizing  their 
'academic'  or  'collegiate'  departments.  In 
general,  except  in  the  case  of  the  'state  uni- 
versities' and  a  few  others,  all  colleges  are 
private  corporations  and  with  few  exceptions 
are  affiliated  with  some  religious  denomination, 
either  by  origin  or  by  present  administration. 
After  about  1835,  in  consequence  of  the  rapid 
expansion  of  the  country,  great  differences 
of  policy  and  standard  became  common  in 
different  sections.  Much  of  this  inequality 
still  persists,  though  with  a  tendency  toward 
a  degree  of  uniformity  through  competition 
or  mutual  agreement. 

The  number  of  institutions  counted  in  this 
general  class  by  the  United  States  Bureau  of 
Education  is  now  over  600.  Of  these,  those 
for  men  number  only  about  60  (almost  wholly 
in  the  East),  those  for  women  about  90 
(chiefly  in  the  East  and  South),  and  those 
for  both  men  and  women  at  least  350,  includ- 
ing the  'state  universities'  as  a  class.  The 
balance  are  special  institutions  not  important 
for  consideration  here. 

Music  as  a  topic  for  study  had  no  place  in 
the  older  curriculum.  It  did  not  appear  until 
differentiation  set  in,  and  even  then  for  a  long 
time  only  sporadicaUy.  It  is  still  unusual 
in  colleges  for  men,  except  where  they  have 
expanded  into  universities.  But  in  almost 
every  divergent  type  it  has  been  emphasized 
—  in  colleges  for  women,  in  those  for  men  and 
women,  in  state  and  most  other  universities, 
and  even  in  some  specializing  colleges.  The 
growth  of  this  recognition  has  become  so 
extensive  that  some  summary  statements  about 
it  are  demanded  here,  although  the  amount 
and  intricacy  of  the  data  at  hand  defy  satis- 
factory presentation  in  any  brief  form.i 

In  the  topics  that  may  be  offered  for  entrance 
to  many  colleges,  'music'  is  often  included,  but 
credit  is  confined  to  certain  lines  of  theory  or 
information   rather    than   expertness   in   per- 

1  In  preparing  this  article  far  more  material  was 
collected  than  it  has  proved  possible  to  use. 


170 


COLLEGES 


COLLEGES 


formance.  This  brings  the  colleges  into  rela- 
tion with  those  high  schools  that  offer  musical 
courses. 

Within  college  systems  two  distinct  policies 
are  in  evidence.  The  first  makes  music  a 
'chair'  or  'department'  like  other  subjects, 
with  a  professor  who  is  a  member  of  the  general 
faculty.  The  second  sets  music  apart  in  a 
distinct  'school'  or  'conservatory,'  with  its 
own  faculty  and  curriculum,  either  directly 
controlled  by  the  college  authorities  or  bound 
up  with  the  system  by  some  form  of  affiliation. 
In  a  few  cases  under  this  second  class  music 
is  grouped  with  drawing,  painting,  sculpture, 
architecture  or  other  expressional  arts  in  a 
'school  of  fine  art.'  Under  the  first  type 
access  to  music-courses  is  usually  limited  to 
those  fully  matriculated  in  the  college,  and  the 
courses  that  are  magnified  are  those  that  are 
readily  coordinated  with  other  courses  in 
science,  history  and  literature,  though  there 
is  an  increasing  tendency  to  allow  credit  for 
courses  in  musical  praxis  as  well.  Credit  in 
music  counts  (within  some  limitations)  toward 
the  A.B.  degree.  Under  the  second  type 
music-courses  are  usually  open  to  students 
not  otherwise  matriculated,  so  that  the 
institution  becomes  a  public  music-school 
(though  usually  with  requirements  for  admis- 
sion equivalent  to  those  in  the  college  proper). 
To  college-students  credit  is  given  toward  an 
A.B.,  and  in  some  cases  this  degree  may  be 
taken  with  music  as  a  'major.'  The  topics 
most  universally  credited  are  harmony, 
appreciation  and  history,  though  the  exact 
method  of  credit  varies  much.  Work  in 
praxis  is  also  being  credited  more  and  more, 
though  with  much  natural  restriction.  For 
non-collegiate  students  full  music-courses 
usually  cover  at  least  four  years,  with  latitude 
as  to  emphasis  upon  an  instrument  or  the 
voice,  leading  generally  to  the  degree  of  Mus. 
B.  Less  strenuous  courses  lead  to  a  diploma 
of  graduation,  a  teacher's  certificate  (usually 
for  three  years'  work)  or  a  public-school 
certificate  (usually  for  two  years'  work).  In 
all  such  cases  the  student  is  required  to  follow 
a  somewhat  extensive  curriculum,  including 
some  subjects  not  musical.  But  many 
schools  also  admit  special  students  for  limited 
courses  of  their  own  choosing. 

Topics  that  are  taken  in  class,  especially  if 
for  college  credit,  are  generally  not  subject 
to  fees,  but  individual  lessons  are  as  a  rule 
charged  for  at  rates  that  vary  widely  in 
different  institutions.  The  use  of  rooms  and 
instruments  for  practice  also  involves  extra 
expense  to  the  student.  This  pecuniary  factor 
places  much  music-study  on  a  different  footing 
from  other  studies.  On  the  other  hand,  most 
institutions  that  emphasize  music  take  over 
into  their  general  budget  a  large  portion  of 


the  'overhead'  charges  of  the  department  or 
school. 

In  general,  theory-courses  include  rudi- 
mentary training,  appreciation  (usually  with 
considerable  demonstration),  harmony  (syn- 
thetic and  analytic),  form,  composition 
(often  extending  to  fugue  and  orchestration), 
history  (usually  lectures  and  demonstration 
combined),  pedagogical  methods  (especially 
for  public-school  work,  but  also  for  individual 
teaching),  and  sometimes  acoustics,  aesthetics 
and  the  relation  of  fine  art  to  culture.  The 
praxis-courses  usually  include  piano,  organ, 
violin  and  voice,  and  sometimes  a  variety  of 
other  instruments.  In  most  cases  there  are 
one  or  more  choruses  (often  large  oratorio- 
societies),  a  choir  and  one  or  two  glee-clubs. 
Orchestras  and  bands  are  becoming  increas- 
ingly common.  Many  institutions  have  at 
least  one  large  organ.  Several  have  musical 
libraries  of  importance.  Wherever  music 
is  emphasized  a  separate  building  is  provided, 
including  a  large  recital-hall,  often  with  an 
elaborate  equipment  of  practice-rooms,  etc. 
Extended  and  varied  opportunities  are  quite 
generally  offered  in  the  way  of  frequent  recitals 
and  concerts,  either  by  members  of  the  staff 
or  by  visiting  artists  and  organizations.  In 
many  cases  there  is  an  annual  'festival.' 
Thus  even  institutions  remote  from  musical 
centers  are  able  to  supply  a  certain  amount 
of  musical  demonstration  and  experience. 

The  pedagogical  consequences  of  bringing 
music-courses  into  close  connection  with  those 
in  other  subjects  are  obvious.  They  are 
forced  to  become  definite  and  systematic, 
so  as  to  be  stated  with  precision  and  be  subject 
to  periodic  examination.  This  is  evidently 
bringing  to  pass  a  notable  degree  of  stand- 
ardization. Emphasis  is  naturally  laid  upon 
securing  teachers  whose  training  and  quality 
are  comparable  with  that  in  the  rest  of  the 
faculty-body.  There  is  a  marked  tendency 
to  exalt  the  relation  of  music  as  a  discipline 
to  general  culture  rather  than  to  treat  it  aa 
merely  a  means  for  securing  a  livelihood. 
Whatever  pervasive  influence  for  culture 
exists  in  the  institution  as  a  whole  reacts  on 
all  who  pursue  music,  even  as  special  students. 
Even  those  who  rank  as  only  music-studenta 
are  often  required  to  take  some  literary  or 
other  studies. 

It  is  impracticable  to  give  details,  except 
in  a  few  conspicuous  cases,  about  the  scope, 
organization  and  facilities  of  the  music-depart- 
ments or  schools  in  each  institution.  But 
the  following  register,  with  its  occasional 
notes,  will  have  some  utility.  In  each  case 
the  head  of  the  department  is  named  (the 
director,  dean,  professor  or  chief  instructor), 
with  the  total  number  in  the  music-faculty 
and  the  names  of  previous  heads  who  have 


COLLEGES 


COLLEGES 


171 


had  long  or  notable  service.  The  institutions 
are  given  in  geographical  order  by  states,  but 
alphabetically  by  places  within  the  states. 

I.      COLLEGKS    FOR    MEN 

Bowdoin  College,  Brunswick,  Me. 

Edward  H.  Wass. 
Dartmouth  College,  Hanover,  N.  H. 

Leonard  B.  McWhood  (from  1918).     Charles  H. 
Morse,  1901-16  and  emeritus ;   Philip  G.  Clapp, 
1916-18. 
Amherst  College,  Amherst,  Mass. 

William  P.  Bigelow  (from  1894). 
Harvard  University,  Cambridge,  Mass. 

Walter  R.   Spalding   (from   1903)    +4.     John  K. 
Paine,  1862-1906. 
Williams  College,  Williamstown,  Mass. 

Sumner  Salter  (from  1905). 
Yale  University,  New  Haven,  Conn. 

David   Stanley  Smith   (from  1920)  +11.     Gustav 
J.  Stoeckel,  1854-96,  Horatio  Parker,  1894-1919. 
Colgate  University,  Hamilton,  N.  Y. 

William  H.  Hoerrner  (from  1912)  +1. 
College  of  the  City  of  New  York,  New  York  City. 

Samuel  A.  Baldwin  (from  1907). 
Princeton    University,  Princeton,  N.  J. 

George  A.  Russell  (from  1917). 
Seton  Hall  College,  South  Orange,  N.  J. 

Francis  C.  Schreiner. 
Catholic  University  of  America,  Washington,  D.  C. 

Abel  L.  Gabert. 
University  of  Notre  Dame,  Notre  Dame,  Ind. 

Charles  Marshall  +4. 
Marquette  University,  Milwaukee,  Wis. 

Liborius  Semmann  (from  1911)  +35.     See  art. 
DePaul  University,  Chicago,  111. 

Walter  Keller  (from  1912). 

2.     COLLEGES    FOR    WOMEN 

Girls'  schools  were  occasionally  undertaken 
in  New  England  from  about  1810.  After  1837 
more  significant  'seminaries'  began  to  be 
established,  including  Mount  Holyoke  in 
Massachusetts,  many  in  the  South,  and  some 
in  Ohio  and  Illinois,  but  only  two  or  three 
offering  anything  like  a  'college'  curriculum. 
After  the  Civil  War  the  number  increased 
and  the  standard  was  rapidly  raised.  There 
was  no  music-instruction  till  about  1860,  but  it 
has  now  become  almost  universal  (with  Sim- 
mons, Bryn  Mawr  and  Goucher  as  striking  ex- 
ceptions). As  a  rule,  these  music-departments 
are  well  organized  and  decidedly  effective. 

RadcHEfe  College,  Cambridge,  Mass. 

Walter  R.   Spalding   (from   1903),   with  some  op- 
portunities at  Harvard  University. 
Smith  College,  Northampton,  Mass. 

Henry  Dike  Sleeper  (from  1903)  +23.     Benjamin 
C.     Blodgett,     1878-1903,     Louis    A.     Coerne, 
1903-04. 
Wheaton  College,  Wheaton,  Mass. 

Hiram  G.  Tucker  (from  1878)  +1. 
Mount  Holyoke  College,  South  Hadley,  Mass. 

William  C.  Hammond  (from  1900)  +10. 
Wellesley  College,  Wellesley,  Mass. 

Hamilton,  C.  Macdougall  (from  1900) +10.    Charles 
H.  Morse,  1875-84,  Junius  W.  Hill,  1884-97. 
Connecticut  College,  New  London,  Conn. 
Louis  A.  Coerne  (from  1915)  +3. 


Wells  College,  Aurora,  N.  Y. 

Emit  K.  Winkler  (from  1894)  +5. 
Elmira  College,  Elmira,  N.  Y. 

George  M.  McKnight  (from  1894)  +7.     Max  Pi- 
utti,  1874-83,  Edward  Dickinson,  1883-92. 
Barnard  College,  New  York  City. 

Some  courses  open  at  both  Columbia  University 
and  the  Institute  of  Musical  Art. 
Hunter  College,  New  York  City. 

Henry  T.  Fleck  +7. 
Vassar  College,  Poughkeepsie,  N.  Y. 

George    C.    Gow    (from    1895)    +8.     Fr6d6ric    L. 
Ritter,    1867-91,    Edward  M.    Bowman,    1891- 
95. 
Skidmore  School  of  Arts,  Saratoga  Springs,  N.  Y. 

A.  Stanley  Osborn  (from  1917)  +3. 
Beaver  College,  Beaver,  Pa. 

M.  Ellery  Reed  (from  1918)  +  6. 
Moravian  Seminary,  Bethlehem,  Pa. 

T.  Edgar  Shields  +  3. 
Wilson  College,  Chambersburg,  Pa. 

Rudolph     Wertime     (from     1917)     +3.     Orlando 
A.  Mansfield,  1912-17. 
Irving-College,  Mechanicsburg,  Pa. 

Harry  C.  Harper,  1903-18. 
Pennsylvania  College  for  Women,  Pittsburgh,  Pa. 

Walter  Wild   (till    1920)  +4.     T.  Carl  Whitmer, 
1909-16. 
Hood  College,  Frederick,  Md. 

Henry  W.  Pearson  (from  1916)  +5. 
Maryland  College  for  Women,  Lutherville,  Md. 

Howard  R.  Thatcher  (from  1906)  +5. 
SuUins  College,  Bristol,  Va. 

Carl  Fallberg  (from  1917)  +8. 
Hollins  College,  Hollins,  Va. 

Erich  Rath  (from  1907)   +6.     J.  A.  E.  Winkler, 
1852-62,  H.  L.  Pauli,  1873-92. 
Randolph-Macon  Woman's  College,  Lynchburg,  Va. 

John  H.  Davis  (from  1899)  +7. 
Sweet  Briar  College,  Sweet  Briar,  Va. 

Helen  F.  Young  +5. 
Queen's  College,  Charlotte,  N.  C. 

J.  R.  Niniss  -i-4. 
Greensboro  College  for  Women,  Greensboro,  N.  C. 

Conrad  Lahser  (from  1914)  +6. 
Meredith  College,  Raleigh,  N.  C. 

Charlotte  Ruegger  (from  1915)  +9. 
Salem  College,  Winston-Salem,  N.  C. 

H.  A.  Shirley  (from  1896)  +13. 
Chicora  College,  Columbia,  S.  C. 

Heinrich  H.  Bellamann  (from  1907)  +9. 
Coker  College,  Hartsville,  S.  C. 

Carl  J.  Tolman  (from  1908)  +7.     Festivals  since 
1911. 
Winthrop  College,  Rock  Hill,  S.  C. 

Henry    D.    Guelich     (from    1914)     +12.     A.    O. 
Bauer,  1902-14. 
Converse  College,  Spartanburg,  S.  C. 

Edmon  Morris  (from  1913)  +6.     Arthur  L.  Man- 
chester, 1904-13.     Festivals  since  1895. 
Agnes  Scott  College,  Decatur,  Ga. 

Christian  W.  Dieckmann  (from  1918)  +3.     Joseph 
Maclean,  1893-1918. 
Bessie  Tifft  College,  Forsyth,  Ga. 

William  P.  Twaddell  (from  1920)  +10. 
Brenau  College,  Gainesville,  Ga. 

Otto   W.    G.    Pfefferkorn  +  11.      August   Geiger, 
1903-10. 
Wesleyan  College,  Macon,  Ga. 

Joseph  Maerz  (from  1914)  +11. 
Florida  State  College  for  Women,  Tallahassee,  Fla. 

Ella  S.  Opperman  (from  1911)+7. 
Oxford  College  for  Women,  Oxford,  O. 

Clem   A.   Towner    (from    1914)  +4.     Karl   Merz, 
1861-82,  Max  V,  Swarthout,  1905-11. 


172 


COLLEGES 


COLLEGES 


Western  College  for  Women,  Oxford,  O. 

Alice  A.  Porter  (from  1901)  +6.     Edgar  S.  Kelley, 
associated  from  1910. 
Lake  Erie  College,  Painesville,  O. 

Henry  T.  Wade  +3. 
Milwaukee-Downer  College,  Milwaukee,  Wis. 

Claudia  W.   McPheeters   (from   1895)    +7.     John 
C.  Fillmore,  1878-84. 
Illinois  Woman's  College,  Jacksonville,  111. 

Henry  V.  Stearns  +11. 
Rockford  College,  Rockford,  III. 

Laura  G.  Short  (from  1918).     F.  Marion  Ralston, 
1909-18. 
Hamilton  College,  Lexington,  Ky. 

Isabel  Mets  (from  1914)  +  3. 
Tennessee  College,  Murfreesboro,  Tenn. 

Stanley  Levey  (from  1918)  +4. 
Judson  College,  Marion,  Ala. 

Edward  L.  Powers  (from  1900)  +7. 
Woman's  College  of  Alabama,  Montgomery,  Ala. 

Edward  B.  Perry  (from  1917)  +5. 
Belhaven  College,  Jackson,  Miss. 

Mary  Wharton  +5. 
College  of  St.  Catharine,  St.  Paul,  Minn. 

S.  Scion ti  +11. 
College  of  St.  Teresa,  Winona,  Minn. 

Glenn  D.  Gunn,  Horace  G.  Seaton,  William  Mc- 
Phail,  Ancella  M.  Fox. 
Central  College,  Lexington,  Mo. 

Delano  F.  Conrad  (from  1897)  +  4. 
Hardin  College,  Mexico,  Mo. 

Arthur  L.  Manchester  (from  1918). 
Central  College,  Conway,  Ark. 

J.  Harry  Aker  +6. 
H.  Sophie  Newcomb  College,  New  Orleans,  La. 

Leon  R.  Maxwell  (from  1909)  +13. 
Baylor  Female  College,  Belton,  Tex. 

T.  S.  Lovette  +6. 
Colorado  Woman's  College,  Denver,  Colo. 

Josephine  S.  White  (from  1911)  +3. 
Mills  College,  Mills  College,  Cal. 

Edward  F.  Schneider  +  10.  Louia  Lisser,  1880- 
1900  and  emeritus. 

3.     COLLEGES    FOR    MEN    AND    WOMEN 

Coeducation  in  colleges  first  appeared  in 
1833  at  Oberlin  and  from  1850  steadily  became 
more  common,  especially  in  the  State  Uni- 
versities as  they  were  founded  and  in  other 
institutions  in  the  Interior  and  the  West. 
(For  the  State  Universities,  see  article.)  As 
a  class,  colleges  of  this  order  tend  to  provide 
musical  instruction,  often  in  an  extended  and 
impressive  way.  They  are  often  notably 
successful  in  arousing  enthusiasm  for  choral 
music  of  different  grades.  While  the  cultural 
ideal  is  usually  emphasized,  occupational 
preparation  is  also  provided  for,  especially 
as  regards  teaching. 

Bates  College,  Lewiston,  Me. 

Edwin  L.  Goss. 
Colby  College,  Waterville,  Me. 

Alice  H.  White. 
Middlebury  College,  Middlebury,  Vt. 

Lewis  J.  Hathaway. 
Boston  University,  Boston,  Mass. 

John  P.  Marshall  (from  1903)  +8  lecturers.  After 
the  founding  of  the  New  England  Conservatory 
in  1867  Boston  University  was  loosely  affiliated 
with  it,  offering  advanced  work  in  composition. 


Tufts  College,  Tufts  College,  Masa. 

Leo  R.  Lewis  (from  1895). 
Brown  University,  Providence,  R.  I. 

Edwin  E.  Wilde  (from  1914). 
Alfred  College,  Alfred,  N.  Y. 

Ray  W.  Wingate  (from  1912). 
Adelphi  College,  Brooklyn,  N.  Y. 

William  A.  Thayer  +1. 
Hobart  College,  Geneva,  N.  Y. 

William  L.  Wood. 
Cornell  University,  Ithaca,  N.  Y. 

Hollis  E.  Dann  (from  1906). 
Columbia  University,  New  York  City. 

Daniel  Gregory  Mason  (from  1910)  +3.     Edward 
A.    MacDowell,    1896-1904,   Cornelius    Rybner, 
1904-19.     In  Teachers  College,  Charles  H.  Farns- 
worth  (from  1900). 
New  York  University,  New  York. 

Thomas  Tapper  (from  1908)  and  William  L.  Wright 
(from  1914). 
Syracuse  University,  Syracuse,  N.  Y. 

George  A.  Parker  (from  1882)  +20. 
Upsala  College,  Kenilworth,  N.  J. 

Oscar  M.  Magnusson. 
Lebanon  Valley  College,  Annville,  Pa, 

E.  Edwin  Sheldon  +5. 
Geneva  College,  Beaver  Falls,  Pa. 

Frances  E.  Waddel  +4. 
Ursinus  College,  Collegeville,  Pa. 

John  M.  Jolls  +2. 
Thiel  College,  Greenville,  Pa. 

Stanley  J.  Seiple  +4. 
Grove  City  College,  Grove  City,  Pa. 

Hermann  Poehlmann  +3. 
Juniata  College,  Huntingdon,  Pa. 

Edythe  M.  Ring  +2. 
Bucknell  University,  Lewisburg,  Pa. 

Paul  G.  Stolz  +7. 
Westminster  College,  New  Wilmington,  Pa. 

Per  Nielsen  +6.     William  W.  Campbell,  1906-19. 
Temple  University,  Philadelphia,  Pa. 

Thaddeus  Rich  +13. 
University  of  Pittsburgh,  Pittsburgh,  Pa. 

Will  Earhart  (from  1919)  +2. 
Susquehanna  University,  Selin.?grove,  Pa. 

Rudolph  J.  Meyer  +2. 
Blue  Ridge  College,  New  Windsor,  Md. 

William  Z.  Fletcher  +4. 
Western  Maryland  College,  Westminster,  Md. 

Maude  E.  Gesner  +3. 
Bridgewater  College,  Bridgewater,  Va. 

Charles  W.   Roller  (from  1905)   +3.     George  B. 
Holsinger,  1882-98. 
Bethany  College,  Bethany,  W.  Va. 

Jean  C.  Moos  (from  1899)  +2. 
West  Virginia  Wesleyan  College,  Buckhannon,  W.  Va. 

George  S.  Bohanan  (from  1916)  +3. 
Elon  College,  Elon,  N.  C. 

Ava  L.  B.  Dodge  +4. 
Atlantic  Christian  College,  Wilson,  N.  C. 

Ivy  M.  Smith  +3. 
Piedmont  College,  Demorest,  Ga. 

S.  P.  Spencer  +2. 
J.  B.  Stetson  University,  DeLand,  Fla. 

Paul  R.  Geddea  +4. 
Rollins  College,  Winter  Park,  Fla. 

Susan  H    Dyer  +7. 
Ohio  Northern  University,  Ada,  O. 

Frederic  T.  Killeen  (from  1916)  +2. 
Mount  Union  College,  Alliance,  O. 

Edwin  L.  Allen  (from  1917)  +5. 
Ohio  University,  Athens,  O. 

Alexander  S.  Thompson  (from  1913)  +9. 
Baldwin-Wallace  College,  Berea,  O. 

Albert  Riemenachneider  (from  1898)  +9. 


COLLEGES 


COLLEGES 


173 


Bluffton  College,  Bluffton,  O. 

Gustav  A.  Lehmann  +8. 
Cedarville  College,  Cedarville,  O. 

Florence  Russell  (from  1918)  +1. 
Western  Reserve  University,  Cleveland,  O. 

Charles  E.  Clemens  (from  1899)  +1. 
Defiance  College,  Defiance,  O. 

Flossie  E.  Whitney  (from  1916)  +3. 
Ohio  Wesleyan  University,  Delaware,  O. 

Horace  Whitehouse  (from  1918)   +8.     Samuel  H. 
Blakeslee,  1884-90,  Charles  M.  Jacobus,  1901- 
18.     Music-courses  since  1S54. 
Findlay  College,  Findlay,  O. 

Royal  D.  Hughes  (from  1910)  +3. 
Denison  University,  Granville,  O. 

Karl   H.   Eschman   (from   1913)    +7.     Otto  Eng- 
werson,    1894-1904,    Carl    P.    Wood,    1900-13. 
Musical  instruction  began  about  1840.      Festi- 
vals since  1905. 
Hiram  College,  Hiram,  O. 

T.  Morgan  Phillips  +2. 
Muskingum  College,  New  Concord,  O. 

Edward  H.  Freeman  (from  1914)  +2. 
Oberlin  College,  Oberlin,  O. 

Charles  W.  Morrison   (from  1902)    +35.     George 
N.  Allen,  1837-64,  Fenelon  B.  Rice,  1869-1901. 
Rio  Grande  College,  Rio  Grande,  O. 

Edna  V.  Starr. 
Wittenberg  College,  Springfield,  O. 

Miriam  H.  Weaver  +4. 
Heidelberg  University,  Tiffin,  O. 

Frank  W.  Gilles  +6. 
Otterbein  College,  Westerville,  O. 

Glenn  G.  Grabill  4-4. 
Wilmington  College,  Wilmington,  O. 

Ruth  Brundage  +1. 
College  of  Wooster,  Wooster,  O. 

Neille    O.    Rowe    (from    1914)  +6.     Karl    Merz, 
1882-90,  J.  Lawrence  Erb,  1905-13. 
Adrian  College,  Adrian,  Mich. 

Harrison  D.  LeBaron  (from  1919)  +2. 
Albion  College,  Albion,  Mich. 

Harlan  J.  Cozine  +4. 
Alma  College,  Alma,  Mich. 

Clifford  F.  Royer  +3. 
Hillsdale  College,  Hillsdale,  Mich. 

Melville  W.  Chase  (from  1869)  -f3. 
Hope  College,  Holland,  Mich. 

Oscar  Cress  +2. 
Olivet  College,  Olivet,  Mich. 

Elsie  Duffield  (from  1920)  -|-  3.    Elizabeth  B.  Bint- 
liff,  1893-1909. 
Earlham  College,  Earlham,  Ind. 

Samuel  B.  Garton  -\-2. 
Franklin  College,  Franklin,  Ind. 

Minnie  B.  Bruner  (from  1898)  -f-1. 
Goshen  College,  Goshen,  Ind. 

Amos  S.  Ebersole  (from  1915)  +4. 
DePauw  University,  Greencastle,  Ind. 

Robert  G.  McCutchan  (from  1911)   -|-11.     James 
H.    Howe,   1884-94,  Belle   A.   Mansfield,  1894- 
1911. 
Hanover  College,  Hanover,  Ind. 

Lloyd  L.  Alexander. 
Indiana  Central  University,  Indianapolis,  Ind. 

Marged  E.  Jones  +1. 
Taylor  University,  Upland,  Ind. 

A.  Verne  Westlake  -|-6. 
Valparaiso  University,  Valparaiso,  Ind. 

Edmund  W.  Chaffee  (from  1899)  +9.     Henri  W.  J. 
Ruifrok,  1889-95,  WilliamW.Hinshaw,  1895-99. 
Vincennes  University,  Vincennes,  Ind. 

Joyce  H.  Hetley  +2. 
Lawrence  College,  Appleton,  Wis. 

Frederick  V.  Evans  +14. 


Beloit  College,  Beloit,  Wis. 

Max  Miranda   (from  1919).     B.  D.Allen,   1894- 
1902,  Abram  R.  Tyler,  1902-11. 
Ripen  College,  Ripon,  Wis. 

Elizabeth  B.  Bintliff  (from  1909)    +5.     John   C. 
Fillmore,    1868-77,    Rossetter    G.    Cole,    1892- 
94. 
Carroll  College,  Waukesha,  Wis. 

Clarence  E.  Shepard  +2. 
Hedding  College,  Abingdon,  111. 

Mrs.  Henry  Lee  Gash  (from  1919)  +3. 
Shurtleff  College,  Alton,  111. 

Cornelia  Brownlee  (from  1918). 
Illinois  Wesleyan  University,  Bloomington,  111. 

Edward  Y.   Mason   (from  1919)    +6.     Henry  P. 
Eames,  1913-19. 
Carthage  College,  Carthage,  111. 

Ann  Dvorsky  (from  1914)  +4. 
University  of  Chicago,  Chicago,  111. 

Robert  W.  Stevens  (from  1911). 
James  Millikin  University,  Decatur,  111. 

Max  V.  Swarthout  (from  1914)   +18.     Hermann 
H.  Kaeuper,  1903-14. 
Eureka  College,  Eureka,  111. 

F.  J.  Sucher  (from  1918)  +4. 
Northwestern  University,  Evanston,  111. 

Peter  C.  Lutkin  (from  1S97)  +33. 
Knox  College,  Galesburg,  111. 

William  F.  Bentley   (from   1885)    +9.     Festivals 
since  1900. 
Lombard  College,  Galesburg,  111. 

Anna  G.  Bryant  (from  1912)  +4. 
Greenville  College,  Greenville,  111. 

Louwillie  Kessler  +4. 
Illinois  College,  Jacksonville,  111. 

William  E.  Kritch  +10.     ' 
Lake  Forest  College,  Lake  Forest,  111. 

Henry  P.  Eames  +5. 
Lincoln  College,  Lincoln,  111. 

Herbert  O.  Merry  +3. 
Monmouth  College,  Monmouth,  111. 

T.  Merrill  Austin  +5. 
Northwestern  College,  Naperville,  111. 

J.  Francis  Maguire  +3. 
Augustana  College,  Rock  Island,  111. 

J.  Victor  Bergquist  (from  1912). 
Wheaton  College,  Wheaton,  111. 

Mabel  A.  Rippe  +2. 
Berea  College,  Berea,  Ky. 

Ralph  Rigby  (from  1905)  +3. 
Georgetown  College,  Georgetown,  Ky 

Bertram  C.  Henry  +3. 
Asbury  College,  Wilmore,  Ky. 

Edwin  A.  Gowen  (from  1917)  +4. 
Kentucky  Wesleyan  College,  Winchester,  Ky. 

Anna  C.  Goff  +1. 
Cumberland  University,  Lebanon,  Tenn. 

W.  H.  A.  Moore  +1. 
Fisk  University,  Nashville,  Tenn. 

Jennie  A.  Robinson  +6. 
Carleton  College,  Northfield,  Minn. 

Edward  Strong  (from  1912)  +5. 
St.  Olaf  College,  Northfield,  Minn. 

F.  Melius  Christiansen  +10. 
Hamline  University,  St.  Paul,  Minn. 

John  A.  Jaeger  +3. 
Macalester  College,  St.  Paul,  Minn. 

Harry  Phillips  (from  1896)  +15. 
Gustavus  Adolphus  College,  St.  Peter,  Minn. 

O.  Waldemar  Anderson  +3. 
Coe  College,  Cedar  Rapids,  la. 

Earle  G.  Killeen  (from  1910)  +7. 
Des  Moines  College,  Des  Moines,  la. 

Edith  M.  Usry  (from  1912)  +2.     Maro  L.  Bartlett , 
1885-1919. 


174 


COLLEGES 


COLLEGES 


Drake  University,  Dea  Moines,  la. 

Holmes  Cowper  (from  1909)  +16. 
Parsons  College,  Fairfield,  la. 

Charles  W.  Mountain  +4. 
Upper  Iowa  University,  Fayette,  la. 

Charles  D.  Nefif  (from  1900)  +4. 
Grinnell  College,  Grinnell,  la. 

George  L.  Pierce  (from  1907)  +12.     Willard  Kim- 
ball,   1875-94,  Rossetter  G.   Cole,   1894-1901. 
Festivals  since  1912. 
Simpson  College,  Indianola,  la. 

Frank  E.  Barrows  (from  1895)  +5. 
Ellsworth  College,  Iowa  Falls,  la. 

Artemas  E.  Bullock  (from  1894)  +4. 
Iowa  Wesleyan  College,  Mt.  Pleasant,  la. 

Elmer  K.  Gannett  (from  1918)  +2.     A.  Rommel, 
1878-1918. 
Cornell  College,  Mt.  Vernon,  la. 

Frank  H.  Shaw  (from  1915)  +6. 
Penn  College,  Oskaloosa,  la. 

Charles  L.  Griffith  +4. 
Morningside  College,  Sioux  Falls,  la. 

Paul  MacCollin  +5. 
Buena  Vista  College,  Storm  Lake,  la. 

Fred  W.  Mimberley  (from  1914)  +1. 
Tabor  College,  Tabor,  la. 

Ralph  W.  Soule  +2. 
Missouri  Wesleyan  College,  Cameron,  Mo. 

Joseph  E.  Layton  (from  1907)  +3. 
Culver-Stockton  College,  Canton,  Mo. 

Robert  E.  Crossland  (from  1919)  +1. 
Missouri  Valley  College,  Marshall,  Mo. 

Claude  L.  Fichthorn  +2.     Edgar  S.  Place,  1890- 
1912. 
Dniry  College,  Springfield,  Mo. 

T.  Stanley  Skinner  (from  1917)  +2.     William  A. 
Chalfant,  1881-1914. 
Tarkio  College,  Tarkio,  Mo. 

Claude  C.  Pinney  (from  1913)  +3. 
Henderson-Brown  College,  Arkadelphia,  Ark. 

Frederick  Harwood  +5. 
Ouachita  College,  Arkadelphia,  Ark. 

Livingston  H.  Mitchell  +4. 
Arkansas  Cumberland  College,  Clarksville,  Ark. 

Virgia  Poynor  +3. 
Fargo  College,  Fargo,  N.  D. 

Albert  J.  Stephens  (from  1908)  +10. 
Jamestown  College,  Jamestown,  N.  D. 

Harry  D.  Jackson  (from  1918)  +2. 
Huron  College,  Huron,  S.  D. 

Herbert  M.  Bailey  (from  1916)  +6. 
Dakota  Wesleyan  University,  Mitchell,  S.  D. 

George  H.  Miller  (from  1915)  +3. 
Yankton  College,  Yankton,  S.  D. 

Lee  N.  Dailey  (from  1904)  +7. 
Cotner  College,  Bethany,  Neb. 

Ethel  Biles  +7. 
Union  College,  College  View,  Neb. 

Oliver  S.  Beltz  (from  1915)  +3. 
Doane  College,  Crete,  Neb. 

George  H.  Aller  (from  1914)  +5. 
Midland  College,  Fremont,  Neb. 

Charles   K.    Nicholas    (from   1919)    +3.     William 
Davies,  1906-19. 
Grand  Island  College,  Grand  Island,  Neb. 

Jane  L.  Pinder  +6. 
Hastings  College,  Hastings,  Neb. 

Hayes  M.  Fuhr  (from  1912)  +2. 
University  of  Omaha,  Neb. 

Johanna  Anderson. 
Nebraska  Wesleyan  Univ.,  University  Place,  Neb. 

Carl  Beutel  (from  1917)  +7. 
Baker  University,  Baldwin  City,  Kan. 

Marvin  D.  Geere  (from  1912)  +4.     Robert  G.  Mc- 
Cutchan,  1904-10. 


College  of  Emporia,  Emporia,  Kan. 

Daniel  A.  Hirschler  (from  1914)  +2. 
Kansas  City  University,  Kansas  City,  Kan. 

Ada  L.  Harrington. 
Bethany  College,  Lindsborg,  Kan. 

Hagbard  Erase  +14.     Festivals  since  1900. 
Ottawa  University,  Ottawa,  Kan. 

Paul  R.  Utt  (from  1917)  +3. 
Kansas  Wesleyan  University,  Salina,  Kan. 

Ernest  L.  Cox  (from  1917)  +4.     James  E.  Carnal, 
1903-13. 
Sterling  College,  Sterling,  Kan. 

Clyde  E.  Matson  +2. 
Washburn  College,  Topeka,  Kan. 

Horace  Whitehouse  +7. 
Fairmount  College,  Wichita,  Kan. 

Frank  A.  Power  +5. 
Friends  University,  Wichita,  Kan. 

Lucius  Ades  +3. 
Southwestern  College,  Winfield,  Kan. 

Elvis  C.  Marshall  (from  1911)  +3. 
Phillips  University,  East  Enid,  Okla. 

Charles  M.  Bliss  +6. 
Kingfisher  College,  Kingfisher,  Okla. 

Frederick  Drake  +3. 
Henry  Kendall  College,  Tulsa,  Okla. 

John  K.  Weaver  (from  1909)  +4. 
Simmons  College,  Abilene,  Tex. 

Styles  R.  Anderson  +6. 
Howard  Payne  College,  Brownwood,  Tex. 

Henry  E.  Meyer  (from  1918)  +3. 
Southern  Methodist  University,  Dallas,  Tex. 

Harold  von  Mickwitz  (from  1916)  +6. 
Texas  Christian  University,  Fort  Worth,  Tex. 

Helen  F.  Cahoon  +3. 
Southwestern  University,  Georgetown,  Tex. 

Frederick  W.  Kraft  (from  1914)  +3. 
Baylor  University,  Waco,  Tex. 

Rudolf  Hoffmann  +8. 
Colorado  College,  Colorado  Springs,  Colo. 

Edward  D.  Hale  (from  1905)  +6.     Rubin  Gold- 
mark,  1894-1901. 
College  of  Idaho,  Caldwell,  Ida. 

Frederick  F.  Beale  (from  1912)  +2. 
Whitworth  College,  Spokane,  Wash. 

Thomas  Moss. 
College  of  Puget  Sound,  Tacoma,  Wash. 

Robert  L.  Schofield  (from  1912)  +6. 
Whitman  College,  Walla  Walla,  Wash. 

Llewellyn   B.   Cain   +3.      Samuel   H.   Lovewell, 
1898-1906. 
Pacific  University,  Forest  Grove,  Ore. 

Frank  T.  Chapman  (from  1914)  +5. 
McMinnville  College,  McMinnville,  Ore. 

Carrie  C.  Potter  (from  1904)  +3. 
Pacific  College,  Newberg,  Ore. 

Alexander  Hull  (from  1908)  +1. 
Willamette  University,  Salem,  Ore. 

John  R.  Sites  (from  1918)  +4. 
Pomona  College,  Claremont,  Cal. 

Ralph  H.  Lyman  (from  1917)  +5. 
University  of  Redlands,  Redlands,  Cal. 

Charles  H.  Marsh  (from  1919)  +4. 
Pacific  Union  College,  St.  Helena,  Cal. 

Noah  E.  Paulin  +2. 
College  of  the  Pacific,  San  Jos6,  Cal. 

Howard    H.    Hanson    (from    1919)    +12.     Pierre 
Douillet,  1897-1913. 
Leland  Stanford  University,  Stanford  University,  Cal. 

Lewis  H.  Eaton  (from  1913). 
Whittier  College,  University  Park,  Cal. 

Howard  L.  Hockett  +1. 

For  much  further  information,  see  Rose  Yont, 
Status  and  Value  of  Music  in  Education,  1916. 


COLLEGE  ENTRANCE  BOARD 


COMBS  CONSERVATORY     175 


COLLEGE  ENTRANCE  EXAMINA- 
TION BOARD,  THE,  is  an  association  of 
about  35  colleges  in  the  East  for  arranging 
and  holding  uniform  entrance-examinations 
in  various  subjects.  The  system  has  been 
so  successful  that  its  standards  have  been 
widely  adopted  throughout  the  country. 

The  present  requirement  in  music  is  confined 
to  harmony  and  the  test  is  wholly  in  writing. 
The  candidate  must  show 

(1)  The  ability  to  harmonize,  in  four  vocal  parts, 
simple  melodies  of  not  fewer  than  eight  measures, 
in  soprano  or  in  bass  —  these  melodies  will  require 
a  knowledge  of  triads  and  inversions,  in  the  major 
and  minor  modes ;  and  of  modulation,  transient  or 
complete,  to  nearly-related  keys. 

(2)  Analytical  knowledge  of  ninth-chords,  all 
non-harmonic  tones,  and  altered  chords  (including 
augmented  chords). 

The  student  is  expected  to  have  a  full  knowledge 
of  the  rudiments  of  music,  scales,  intervals,  and  staff- 
notation,  including  the  terms  and  expression-marks 
in  common  use. 

Credit  for  passing  is  counted  as  'one  unit' 
towards  entrance  —  a  'unit'  representing 
'a  year's  study  in  a  secondary  school.'  The 
total  number  of  'units'  required  for  entrance 
is  usually  fifteen. 

'COLONIAL  WEDDING,  A.'  A  one-act 
opera  by  John  A.  Van  Broekhoven,  brought 
out  at  Cincinnati  in  1905. 

COLSON,  WILLIAM  BREWSTER  (b. 
1846).     See  Register,  5. 

COLUMBIA  UNIVERSITY,  New  York, 
established  a  Department  of  Music  in  1896, 
when  a  fund  for  the  purpose  was  given  by 
Mrs.  E.  Mary  Ludlow  in  memory  of  her  son 
Robert  Center.  In  1906  this  was  trans- 
formed into  a  School  of  Music,  including 
courses  in  the  University  proper  and  in 
Teachers  College.  The  purpose  is  'to  teach 
music  historically  and  aesthetically  as  an  ele- 
ment of  liberal  culture,  to  teach  it  scientifically 
and  practically  with  a  view  to  training  mu- 
sicians who  shall  be  competent  to  teach  and 
to  compose,  and  to  provide  practical  training 
in  orchestral  and  choral  music'  Most  of  the 
courses  in  praxis  are  given  in  Teachers  Col- 
lege, while  the  University  proper  emphasizes 
history,  theory  and  form,  but  also  maintains 
a  chorus  and  orchestra.  Edward  MacDowell 
was  professor  in  1896-1904,  and  Cornelius 
Rybner  in  1904-19.  Among  the  associate 
professors  have  been  Leonard  B.  McWhood 
in  1897-1910,  Charles  H.  Farnsworth  since 
1900  (Teachers  College),  Daniel  Gregory 
Mason  since  1910  and  Walter  Henry  Hall 
since  1913.  The  School  has  a  fine  library 
of  scores  and  books  about  music.  The 
Mosenthal  Fellowship,  awarded  biennially, 
and  the  Cutting  Fellowships  and  the  Pulitzer 
Scholarship,  awarded  annually,  afford  oppor- 
tunity for  advanced  study. 


COLUMBIAN  ANACREONTIC  SOCI- 
ETY, THE,  of  New  York,  probably  formed 
in  1795,  was  modeled  after  the  Anacreontic 
Society  of  London  (see  Vol.  i.  79-80),  though 
less  aristocratic.  It  fostered  attention  to 
glees  and  part-songs,  and  may  have  been  the 
first  in  America  to  attempt  melodrama.  The 
president  till  1799  was  John  Hodgkinson. 
See  Sonneck,  Concert-Life,  pp.  204-7. 

COMBS,  GILBERT  RAYNOLDS  (Jan. 
5,  1863,  Philadelphia),  from  his  fifteenth  to 
his  twenty-second  year  was  actively  engaged 
in  playing  the  organ,  piano  and  'cello,  teaching 
piano  and  violin,  and  directing  orchestras, 
operatic  companies  and  choruses.  By  these 
early  activities  he  was  prepared  for  his  later 
work  as  founder,  in  1885,  of  a  large  con- 
servatory (see  article  below).  For  twelve 
years  he  was  organist  at  the  Immanuel 
Presbyterian  Church,  later  musical  director 
at  the  South  Broad  Street  Baptist  Church 
and  for  six  years  organist  at  the  Tenth  Presby- 
terian Church.  As  composer  he  is  best  known 
by  his  piano-pieces,  but  he  has  written  in  all 
forms.  The  'Erato'  for  piano,  dedicated  to 
Godowsky,  the  'Romance,'  op.  17,  'Norwegian 
Dance,'  'Autumn'  and  'Wind  of  Memory'  are 
all  well  known.  His  'Reverie,'  op.  7,  for  vio- 
lin and  piano,  was  dedicated  to  and  often 
played  by  Schradieck.  His  Scotch  and  Irish 
songs,  and  many  instructive  pieces  for  piano 
and  violin,  have  been  much  used.  His  Science 
of  Piano-Playing  and  Introductory  Steps  to 
the  Science  of  Piano-Playing  are  published 
in  loose-leaf  ledger  form.  His  'Dramatic 
Symphony'  was  first  performed  in  1908. 
His  Ritualistic  Music  for  the  32nd  Degree 
A.  A.  S.  R.,  for  men's  voices  and  organ,  waa 
written  for  the  Philadelphia  Consistory  and 
first  presented  in  1917.  The  orchestral  set- 
ting for  'Sheherazade,'  an  oriental  drama,  waa 
given  at  the  Metropolitan  Opera  House, 
Philadelphia,  in  May,  1918.  He  is  a  member 
of  local  and  national  musical  organizations, 
one  of  the  founders  and  twice  president  of 
the  Sinfonia,  and  a  member  of  all  Masonic 
organizations.     [  R.7  ] 

COMBS  BROAD  STREET  CONSER- 
VATORY OF  MUSIC,  THE,  was  founded  in 
1885  by  Gilbert  R.  Combs,  who  has  remained 
at  its  head  ever  since.  Its  teaching-force 
numbers  about  80.  The  number  of  pupils 
is  over  2300,  and  the  total  since  foundation 
about  42,000,  including  about  200  full 
graduates.  The  Conservatory  is  highly  or- 
ganized for  efficiency  and  offers  a  wide  range 
of  opportunity  for  instruction  from  elementary 
to  advanced  grades.  Its  students  have  certain 
privileges  at  the  University  of  Pennsylvania. 
Two  orchestras  are  maintained,  one  of  85 
members,  the  other  of  60.  The  Conservatory 
occupies  five  buildings  on  South  Broad  Street. 


176 


COMER 


CONVERSE 


COMER,  THOMAS.  See  Tune-Books, 
1841. 

COMMERY,  STEPHEN  (b.  1862).  See 
Register,  7. 

COMMONWEALTH  SCHOOL  OF  MU- 
SIC, THE,  is  the  name  of  a  summer-school 
at  Boothbay  Harbor,  Me.,  started  in  1913 
by  Clarence  G.  Hamilton  and  directed  by  him, 
with  three  other  teachers.  Courses  are  offered 
in  piano,  violin,  harmony,  analysis  and  public- 
school  supervision,  with  emphasis  on  teachers' 
needs.     The  sessions  occupy  three  weeks. 

CONRAD,  DELANO  FRANZ  (b.  1861). 
See  Colleges,  2  (Central  C,  Mo.). 

CONRIED,  HEINRICH  (Sept.  13,  1855, 
Bielitz,  Austria  :  Apr.  26,  1909,  Meran, 
Tyrol),  was  first  an  actor  at  the  Burg-Theater 
in  Vienna  and  with  traveling  troupes.  In 
1877  he  directed  the  Bremen  Stadt-Theater, 
and  in  1878  became  manager  of  the  Germania 
Theater  in  New  York.  Later  he  managed 
the  Thalia,  and,  with  Aronson,  produced 
light  opera  at  the  Casino.  In  1892  he  took 
charge  of  the  Irving  Place  Theater,  making 
it  the  leading  German  theater  in  the  country. 
After  Grau's  retirement,  in  1903,  he  became 
manager  of  the  Metropolitan  Opera  House 
and  organizer  of  the  Conricd  Opera  Company. 
Signal  events  in  his  r6gime  were  the  first 
American  production  of  'Parsifal'  on  Dec. 
24,  1903,  which  Frau  Wagner  tried  in  vain  to 
prevent  by  injunction,  and  the  single  render- 
ing of  Strauss'  'Salome'  on  Jan.  22,  1907, 
which  was  at  once  withdrawn  by  the  directors. 
In  the  San  Francisco  fire  of  1906  his  com- 
pany suffered  largo  losses.  During  his  last 
two  years  at  the  Metropolitan  he  was  broken 
in  health,  and  in  1908  resigned.     [  R.G  ] 

CONSERVATORIO  NACIONAL  DE  MU- 
SICA,  EL,  of  Mexico  City,  was  founded  in 
1868  and  is  a  constituent  part  of  the  Uni- 
versidad  Nacional.  The  directors  have  been 
Agustin  Caballero  in  1868-76,  Antonio  Bal- 
deras  in  1877-82,  Alfredo  Bablot  in  1882-88, 
Jos6  Rivas  in  18S9-1906,  Gustavo  E.  Campa 
in  1907-08  and  1909-13,  Carlos  J.  Mencscs  in 
1908-09,  Julidn  CarriUo  in  1913-14,  Rafael  J. 
Tello  in  1914-15,  Jos6  R.  Muiioz  in  1915-17, 
and  Eduardo  Gariel  since  1917.  The  faculty 
includes  35  instructors  in  all  theoretical  and 
practical  branches,  with  considerable  emphasis 
on  dramatic  music.  The  number  of  pupils 
varies  from  about  400  to  over  800,  the  total 
since  foundation  being  about  28,000,  of  whom 
about  half  graduated.  The  institution  is  sup- 
ported by  a  subsidy  from  Mexico  City. 

CONVENTIONS,  MUSICAL.  Gatherings 
under  this  name  were  a  natural  development 
of  the  'singing-school,'  but  less  narrowly  local 
and  capable  of  more  varied  expansion.  Such 
occasional  assemblies  were  held  in  New  Hamp- 
shire in  1829-31  under  the  direction  of  Henry 


E.  Moore.  In  1834  the  Boston  Academy 
of  Music  started  a  normal  class  for  singing- 
school  teachers  which  in  1836  became  a  'con- 
vention' by  adding  discussions  by  the  mem- 
bers and  in  1840  adopted  the  name  of  'The 
National  Musical  Convention'  (later  changed 
to  'American').  At  one  time  this  enter- 
prise was  split  by  the  adherents  of  Mason 
and  Webb  respectively.  These  two,  with 
Hastings,  Bradbury,  Root,  Woodbury,  Baker 
and  Emerson,  were  active  promoters  of  the 
'convention'  idea,  not  only  in  New  England, 
l3ut  in  the  West  and  South,  and  they  were 
followed  by  a  host  of  other  leaders.  The 
methods  naturally  varied  greatly,  but  usually 
combined  in  some  way  elementary  and  normal 
instruction,  with  practice  in  choral  singing 
of  a  popular  sort.  The  program  occupied 
three  or  four  days,  with  three  sessions  per 
day.  Though  at  first  no  emphasis  was  placed 
upon  concertizing  —  except  a  closing  '  ex- 
hibition '  —  more  or  less  demonstration  by 
teachers  in  attendance  and  even  recitals  by 
outside  artists  were  not  uncommon  later. 
In  spite  of  their  brief  and  casual  character, 
and  though  often  dominated  by  commercial 
interests,  the  many  'conventions'  held  from 
about  1845  for  twenty-five  years  or  more 
undoubtedly  exerted  a  beneficial  influence. 
Their  effort  to  provide  some  rudimentary 
training  for  adults  probably  contributed  to 
the  later  recognition  of  such  work  for  public- 
school  children.  Their  encouragement  of 
voluntary  combination  or  affiliation  led  di- 
rectly to  the  formation  (from  1876)  of  Music 
Teachers'  Associations  in  many  states  and 
of  the  National  Association  —  most  of  these 
bodies  still  retaining  the  name  'convention' 
for  their  annual  meetings.  Their  pedagogical 
purpose  was  presently  expanded  and  made 
more  efficient  by  what  were  called  'Normal 
Institutes,'  which  were  summer-schools  lasting 
three  weeks  or  more,  such  as  Root  started  in 
New  York  in  1852.  Thus  they  promoted 
interest  in  the  founding  of  permanent  music- 
schools.  From  them,  also,  may  have  come 
part  of  the  impulse  to  the  holding  of  'festivals' 
or  groups  of  concerts,  either  occasionally  (as 
the  Peace  Jubilees  of  1869  and  1872)  or 
regularly  (as  at  Worcester  and  elsewhere). 
That  the  movement  as  a  whole  had  value  and 
significanco  is  attested  both  by  the  number  of 
earnest  men  who  sought  careers  as  '  conven- 
tion-leaders'  and  by  the  fact  that  many  later 
teachers  and  performers  gained  their  first 
musical  inspiration  from  these  leaders. 

CONVERSE,  CHARLES  CROZAT  (Oct. 
7,  1832,  Warren,  Mass.  :  Oct.  18,  1918, 
Highwood,  N.  J.),  was  musically  trained  in 
Germany,  where  in  1855-59  he  studied  theory 
and  composition  with  Richter,  Hauptmann 
and   Plaidy   at   Leipzig.     On    his    return   he 


CONVERSE 


COOKE 


177 


entered  the  Albany  Law  School,  graduating 
in  1861.  From  1875  he  was  in  law  practice 
at  Erie,  Pa.,  and  also  a  partner  in  the  Bur- 
dette  Organ  Company.  His  last  years  were 
spent  at  Highwood,  N.  J.  He  composed  an 
'American  Concert  Overture'  (1869),  based  on 
'Hail,  Columbia';  a  Testouverture'  (1870); 
six  German  songs  (Leipzig,  1856)  ;  and  an 
American  national  hymn,  'God  for  us'  (1887). 
He  left  in  manuscript  two  symphonies,  two 
oratorios,  several  overtures,  string-quartets 
and  quintets.  Of  his  hymn-tunes,  'What  a 
Friend  we  have  in  Jesus  '  has  had  wide  use.  In 
1895  he  received  the  degree  of  LL.D.  from  Ruth- 
erford College.  He  was  an  inventor  as  well 
as  lawyer  and  musician,  and  endeavored  to 
establish  the  use  of  the  pronoun  'thon.'  He 
used  the  pen-name  'Karl  Redan.'     [  R.5  ] 

CONVERSE,  FREDERICK  SHEPHERD 
(Jan.  5,  1871,  Newton,  Mass.),  graduated  from 
Harvard  in  1893  with  highest  honors  in  music 
under  Paine,  and  his  Sonata  for  violin  and 
piano  was  then  performed.  For  two  years 
he  studied  piano  with  Baermann  and  com- 
position with  Chadwick,  and  then  went  to 
Munich  for  work  under  Rheinberger  at  the 
Royal  Academy.  On  his  graduation  in  1898 
his  Symphony  in  D  minor  had  its  first  per- 
formance. In  1899-1901  he  taught  harmony 
at  the  New  England  Conservatory  in  Boston, 
in  1901-04  was  teacher  of  composition  at 
Harvard,  and  in  1904-07  was  assistant- 
professor  there.  Since  1907  he  has  devoted 
himself  to  composition.  The  list  of  his  works 
is  as  follows : 

Sonata,  op.  1,  for  violin  and  piano. 

Suite,  op.  2,  for  piano. 

Quartet,  op.  3,  for  strings. 

Waltzes,  op.  4,  for  piano,  4-hand3. 

'Walzer  Poetici,'  op.  5,  for  piano,  4-hand.'9. 

Concert-Overture,  'Youth,'  op.  6  (1897,  Munich). 

Symphony  in   D    minor,   op.   7    (1898,    Munich). 

Festival  March,  op.  8,  for  orchestra. 

Romance,   'Festival  of  Pan,'  op.   9,  for  orchestra 

(1900,  Boston  Symphony  Orchestra). 
Romance,    'Endymion's    Narrative,'    op.    10,    for 

orchestra  (1903,  Boston  Orchestra). 
Two  Poems,  'Night'  and  'Day,'  op.  11,  for  piano 

and  orchestra. 
Ballad,   'La  belle  dame   sans  merci,'   op.   12,   for 

baritone  and  orchestra  (1902). 
Concerto,  op.  13,  for  violin  and  piano. 
Three  Love-Songs,  op.  14. 
Concert-Overture,  'Euphrosyne,'  op.  15. 
Two  Songs,  op.  16,  for  soprano. 
Quartet,  op.  17,  for  strings  (1904,  I&ieisel  Qua^'tet, 

Brooklyn). 
Orchestral  Fantasy,  'The  Mystic  Trumpeter,'  op. 

19,    after  poem  by    Whitman    (1905,    Philadel- 
phia Orchestra). 
Songs,  'Adieu'  and  'Silent  Noon,'  op.  20. 
Romantic  Opera,  'The  Pipe  of  Desire,'  op.  21,  in 

one  act  (1906,  Boston,  also  1910,  Metropolitan 

Opera  House). 
'Laudate    Dominum,'    op.    22,    for    men's    voices, 

trombones  and  organ. 
Overture,    entr'actes    and    incidental     music    for 
N 


Mackaye's  'Jeanne  d'Arc,'  op.  23  (1906,  Phila- 
delphia). 
Dramatic  Poem,  'Job,'  op.  24,  for  soli,  chorus  and 

orchestra  (1907,  Worcester   Festival,   and    1908, 

Hamburg). 
Serenade,  op.  25,  for  soprano,  tenor,  men's  chorus, 

flute,  harp  and  strings. 
'Hagar  in  the  Desert,'  op.  26,  dramatic  narrative 

for     low     voice     and     orchestra     (written     for 

Mme.    Schumann-Heink    and    sung   by   her   at 

Hamburg,  1908). 
Symphonic  Poem,  'Ormazd'  (1912,  St.  Louis  and 

Boston  Orchestras). 
'The  Sacrifice,'   opera  in  three  acts,   text  by  the 

composer  (1911,  Boston  Opera  Company). 
Music  for  the  Masque  of  St.  Louis  (1914,  St.  Louis). 
'The  Peace-Pipe,'  cantata  (1916). 
Symphonic  Poem,  'Ave  atque  Vale'  (1917,  Boston 

Orchestra). 
[Of  the  above,  opp.  3,  6,  7,  8,  13,  18  are  still  in 

manuscript.] 

'The  Pipe  of  Desire'  has  the  distinction  of 
being  the  first  work  by  an  American  com- 
poser to  be  performed  at  the  Metropolitan 
Opera  House.     [  R.8  ] 

COOKE,  JAMES  FRANCIS  (Nov.  14, 
1875,  Bay  City,  Mich.),  was  educated  in  the 
New  York  schools  and  with  private  teachers. 
He  studied  music  there  with  W.  H.  Hall, 
Woodman,  Eberhard  and  Medorn,  and  with 
Meyer-Olbersleben  and  Hermann  Ritter  at 
the  Royal  Conservatory  in  Wi'irzburg.  Be- 
ginning at  thirteen,  he  continued  teaching 
piano  in  New  York  for  over  twenty  years, 
developing  original  ideas  based  upon  psycho- 
logical experiments,  some  of  which  have  had 
wide  acceptance.  He  was  also  for  some  years 
organist  in  Brooklyn  churches,  conductor  of 
choral  clubs  and  vocal  teacher.  With  his 
wife,  nee  Betsey  Ella  Beckwith,  as  singer,  he 
has  given  many  recitals  and  lectures  on 
musical  history  and  interpretation.  He  has 
written  extensively  for  musical  periodicals  — 
for  three  years  was  correspondent  for  the 
'Neue  Zeitschrift  fiir  Musik' and  the  'Musik- 
alisches  Wochonblatt,'  and  in  1901-05  pub- 
lished notes  of  extensive  investigations  of  the 
conservatory-systems  of  Europe.  Since  1907 
he  has  been  editor  of  'The  Etude'  in  Phila- 
delphia. The  results  of  conferences  with  great 
living  pianists  he  collected  under  the  title  Great 
Pianists  upo7i  Piano-Playing,  1913.  He  has  also 
published  The  Standard  History  of  Music,  1910, 
Mastering  the  Scales  and  Arpeggios,  1913,  Musi- 
cal Playlets,  1917,  and  Music-Masters  Old  and 
New.  Some  of  his  piano-pieces  and  songs  have 
had  large  circulation.  He  has  also  composed 
works  of  more  serious  character  as  yet  unpub- 
lished. He  was  president  of  the  Philadelphia 
Music  Teachers'  Association  in  1911-18,  of  the 
Writeabout  Club  in  1915-16,  of  the  Philadel- 
phia Drama  League  since  1917,  and  of  the 
Presser  Foundation  since  1917.  He  was  made 
Mus.D.  by  the  Ohio  Northern  University 
in  1919.     He  has  written -plays  (four  produced 


178 


COOMBS 


COURBOIN 


professionally),  stories,  a  novel,  etc.  During 
the  war  as  a  '  Four-Minute  Man'  he  ad- 
dressed over  300,000  people.     [  R.8  ] 

COOMBS,  CHARLES  WHITNEY  (Dec. 
25,  1859,  Bucksport,  Me.),  from  1878  lived 
in  Stultijart,  studying  piano  with  Speidel, 
theory  and  composition  with  Seifritz,  and 
also    modern    languages    and    literature.     In 

1883  he  was  in  Italy  and  Switzerland,  and  in 

1884  went  to  Dresden,  where  his  teachers 
were  Draeseke  for  composition,  Janssen  for 
organ,  Hermann  John  for  instrumentation 
and  Lamperti  for  voice.  He  made  long  visits 
to  Paris  and  London.  In  1887-91  he  was 
organist  at  the  American  Church  in  Dresden. 
In  1892-1908  he  was  organist  at  the  Church 
of  the  Holy  Communion  in  New  York,  and 
since  1908  at  St.  Luke's.  His  compositions 
include  the  following  (mostly  Schirmer) : 

Cantatas  —  'The  Vision  of  St.  John,'  'The  First 
Christmas,'  'Ancient  of  Days,'  'The  Sorrows 
of  Death.' 

Canticles  and  Anthems  —  Gloria  in  Excelsis,  Bene- 
dictus,  Deus  Misereatur,  'Bethlehem,'  'The 
Christ-Child,'  '  The  Christmas  Herald,'  '  Under 
the  Silent  Stars,'  '  Brightest  and  Best,'  '  Joyously 
Peal,'  '  Light  of  Earth,'  three  Christmas  Carols, 
'  Christ  is  Risen,' '  Christ  is  Risen  from  the  Dead,' 
'As  it  Began  to  Dawn,'  'Where  is  He?'  'Let 
your  Light  so  Shine,'  '  The  Evening  Shadows,' 
'A  Hymn  of  Praise,'  '  The  Heavenly  Message,' 
'  How  Lovely  upon  the  Mountains,'  '  God  shall 
Wipe  away  all  Tears,' '  Sing,  O  Daughter  of  Zion,' 
'At  the  Rising  of  the  Sun,'  'How  Goodly  are  thy 
Tents,'  'O  Lord,  Thou  art  Great'  (Schmidt). 

About  75  songs  (Schirmer,  Schmidt,  Presser, 
Church,  Boosey).  [  R.7  ] 

COOPER,  WILLIAM.  See  Tune-Books, 
1803. 

COPP,  EVELYN  ASHTON,  nee  Fletcher 
(b.  1872).     See  Register,  8. 

COPPET,  EDWARD  J.  DE  (May  28, 
1855,  New  York  :  Apr.  30,  1916,  New  York), 
was  of  Swiss  descent.  He  succeeded  his  father 
as  a  banker  and  stock-broker  in  New  York. 
In  1886  he  began  a  series  of  chamber-music  re- 
citals at  his  residence,  and  these  continued  till 
the  afternoon  before  his  death,  the  last  being 
the  1054th.  At  first  different  artists  were  en- 
gaged, but  in  1902  the  Flonzaley  Quartet  was 
organized  and  became  an  important  factor  in 
the  series.  The  name  Flonzaley  was  that  of  his 
summer-home  near  Vevey,  on  Lake  Geneva. 
Thanks  to  his  patronage,  the  Quartet  has  had 
the  opportunity  to  become  one  of  the  finest 
chamber-music  organizations  in  the  world. 
Since  his  death  his  policies  have  been  continued 
by  his  son  Andre.  See  Mason's  article  in  '  The 
Musical  Quarterly,'  October,  1916.     [  R.7  ] 

COREY,  NEWTON  JOHN  (b.  1861).  See 
Register,  6. 

CORNELL,  JOHN  HENRY  (May  8,  1828, 
New  York  :  Mar.  1,  1894,  New  York),  was 
educated  in  New  York  and  in  Germany  and 


England.  In  1848  he  was  organist  at  St. 
John's  Chapel,  in  1868-77  at  St.  Paul's  Chapel 
(both  belonging  to  Trinity  Parish),  and  in 
1877-82  at  the  Brick  (Presbyterian)  Church. 
Besides  being  a  solidly  trained  composer  of 
church-music,  part-songs  and  songs,  he  was 
an  erudite  and  methodical  student  of  theory, 
and  an  able  author  and  translator.  His 
books  include  a  Primer  of  Modern  Musical 
Tonality,  1877,  The  Practice  of  Sight-Singing, 
The  Theory  and  Practice  of  Musical  Form 
(based  on  Bussler),  1883,  an  Easy  Method  of 
Modulation,  1884,  a  Manual  of  Roman  Chant, 
The  Introit  Psalms,  set  to  original  chants,  1871, 
and  a  Congregational  Tune-Book.  Among 
his  translations  were  Langhans'  Geschichte  dor 
Musik,  1886,  and  Ambros'  Die  Grenzen  der 
Musik  und  Poesie,  1893.     [  R.4  ] 

'CORSICAN  BRIDE,  THE.'  An  opera 
by  Eduard  Mollenhauer,  produced  at  the 
Winter  Palace  in  New  York  ^in  18G1. 

'CORSICANA,  LA.'  An  opera  by  John 
Lewis  Browne,  which  received  honorable  men- 
tion in  the  Sonzogno  competition  at  Milan 
in  1902,  was  given  in  New  York  in  1903,  and 
was  published  by  the  Church  Co. 

COTTLOW,  AUGUSTA  (Apr.  2,  1878, 
Shelbyville,  111.),  after  early  lessons  from  her 
mother,  gave  a  piano-recital  in  Chicago  when 
only  seven.  She  studied  there  with  Wolfsohn 
(piano)  and  Gleason  (harmony),  and  made 
her  d6but  with  orchestra  in  1889.  In  1891 
she  first  appeared  in  New  York,  playing  the 
Chopin  E  minor  concerto  under  Seidl.  In 
1896  at  Berlin  she  studied  piano  with  Busoni 
and  theory  with  Boise.  Concert-tours  through 
Germany,  Holland,  England  and  Russia 
followed,  and  in  1900  she  returned  to  America, 
appearing  first  at  the  Worcester  Festival. 
She  has  made  repeated  tours,  has  played  with 
the  Boston  Symphony  and  other  orchestras, 
and,  after  a  long  sojourn  in  Berlin,  is  now 
permanently  in  the  United  States.  She  married 
Edgar  A.  Gerst  of  Berlin  in  1912.     [  R.7  ] 

COURBOIN,  CHARLES  MARIE  (Apr. 
2,  1886,  Antwerp,  Belgium),  early  evinced 
musical  talent,  playing  concertos  and  sym- 
phonies by  ear  at  seven.  He  was  taken  as 
piano-pupil  by  Blockx,  then  director  of  the 
Antwerp  Conservatory,  continuing  five  years. 
He  played  the  organ  at  Notre  Dame  College 
at  twelve,  writing  his  first  composition,  'Vias 
Tuas,'  for  boy-choir,  string-quartet  and  organ. 
At  the  solicitation  of  Mailly,  of  the  Brussels 
Conservatory,  he  entered  on  a  four-years 
course  in  organ  and  became  his  favorite  pupil. 
He  took  harmony  with  Gilson  and  Huberti, 
counterpoint  with  Tinel,  and  won  prizes  in 
piano  and  harmony  in  1901,  and  in  counter- 
point, fugue,  and  transpo-ition  in  1902, 
besides  the  International  Competition  (against 
eight   contestants).     From    1902   he   was   or- 


COWEN 


CRIST 


17d 


ganist  at  Antwerp  Cathedral,  giving  recitals 
also  in  London,  Paris,  Rheims,  Lille,  Boulogne, 
Liibeck,  Hamburg,  Louvain,  Bruges,  Li^ge, 
etc.  In  1904  he  came  to  Oswego,  N.  Y.,  as 
organist  at  St.  Paul's,  going  thence  to  the 
First  Baptist  Church  in  Syracuse,  where  he 
has  the  largest  organ  in  the  State  outside  of 
New  York  City.  In  1917-18  he  was  also 
municipal  organist  at  Springfield,  Mass.  He 
has  lately  undertaken  concert-work,  playing 
with  success  in  the  East  and  the  Middle  West. 
In  1919-20  he  was  concert-organist  at  the 
Wanamaker  Auditoriums  in  Philadelphia 
and  New  York.  At  Philadelphia  in  March, 
1919,  he  brought  out  Widor's  Sixth  Symphony 
(dedicated  to  him)  with  the  Philadelphia 
Orchestra  under  Stokowski.  He  has  written 
Beveral  anthems,  masses,  other  choral  works, 
and  a  '  Toccatina,'  op.  13  —  all  still  in  manu- 
script.    [  R.9  ] 

}  COWEN,  FREDERIC  HYMEN  (Jan. 
29,  1852,  Kingston,  Jamaica).  See  article 
in  Vol.  i.  630-1.  He  served  as  conductor 
of  the  Cardiff  Festival  in  1902,  '04,  '07,  '10, 
of  the  Handel  Festival  at  the  Crystal  Palace 
in  1903,  '06,  '09,  '12,  '20,  and  of  the  Liverpool 
Philharmonic  Society  till  1914.  He  received 
an  honorary  Mus.D,  from  Edinburgh  Uni- 
versity in  1910,  and  was  knighted  in  1911. 
Add  to  the  list  of  works  the  cantata  'John 
Gilpin'  (1904),  the  oratorio  'The  Veil'  (1910), 
the  pantomime  'Monica's  Blue  Boy'  (1917) 
and  the  comedy-ballet  'Cupid's  Conspiracy' 
(1918).  He  has  published  My  Art  and  My 
Friends,  1913,  and  a  humorous  glossary, 
Music  as  She  is  Wrote,  1915. 

COWLES,  WALTER  RUEL  (b.  1881). 
See  Register,  9. 

COWPER,    HOLMES    [Harry    Mattingly] 
(b.  1870).     See  Colleges,  3  (Drake  U.,  la.). 
COX,    ERNEST    L,    See    Colleges,    3 
(Kansas  Wesleyan  U.). 

COZINE,  HARLAN  J.  See  Colleges,  3 
(Albion  C,  Mich.). 

CRAFT,  MARCELLA  (1880,  Indian- 
apolis), had  a  high-school  course  at  Riverside, 
Cal.  Thence  she  went  to  Boston,  from  1897 
studied  with  Charles  R.  Adams,  and  sang  in 
concert  and  oratorio  throughout  New  England. 
In  1901  she  went  to  Europe,  studying  singing 
under  Guagni  and  acting  under  Mottino  in 
Milan,  She  made  her  debut  as  Leonora  in 
'II  Trovatore'  at  Morbegno  in  March,  1902, 
and  sang  in  various  Italian  theaters  for  three 
years.  In  1905  began  engagements  of  two 
years  at  Mayence,  two  at  Kiel  and  five  at  the 
Royal  Opera  in  Munich,  with  guest-appear- 
ances in  many  other  cities.  She  had  just 
finished  at  Munich  when  the  war  began,  and 
she  sailed  for  America  in  August,  1914.  Here 
she  has  appeared  with  the  Chicago,  Cincinnati, 
St.     Louis,     Philadelphia     and     Minneapolis 


Orchestras.  During  1917-18  she  sang  as 
guest  with  the  San  Carlo  Opera  Company 
and  with  the  Society  of  American  Singers 
in  New  York.  She  has  also  been  heard  at 
the  Worcester,  Maine,  Oberlin  and  other 
Festivals,  and  at  four  of  the  remarkable 
Easter  services  on  Mt.  Rubidoux,  Cal.  She 
has  given  many  song-recitals  in  the  larger 
cities.  She  has  taken  the  leading  soprano- 
r61es  in  'Madama  Butterfly,'  'La  Boh^me,' 
'La  Traviata,'  'Faust,'  'Salome,'  'I  Pagliacci,' 
'II  Segreto  di  Susanna,'  'II  Trovatore,'  'Aida,' 
'  Otello,'  'Martha,'  '  Rigoletto,'  'Carmen,' 
'  Tales  of  Hoffmann,'  '  Tiefland,'  '  Lohengrin,' 
'Tannhauser,'  'Die  Meistersinger,'  'The  Magic 
Flute,'  'Don  Giovanni,'  'Benvenuto  Cellini' 
and  'Le  Donne  Curiose.'     [  R.9  ] 

CRANE,  JULIA  ETTIE  (b.  1865).  See 
Register,  6. 

CREHORE,  BENJAMIN  (d.  1819).  See 
Register,  2. 

CRESS,  OSCAR.  See  Colleges,  3  (Hope 
C,  Mich.). 

CRIST,  BAINBRIDGE  (Feb.  13,  1883, 
Lawrenceburg,  Ind.),  spent  his  youth  in 
Washington,  where  he  graduated  from  the 
Law  School  in  1906.  He  then  practiced  in 
Boston  until  after  six  years  he  abandoned  the 
law  for  music,  which  he  had  pursued  since 
childhood.  He  then  studied  in  London,  Paris 
and  Berlin,  taking  composition  under  Juon,  and 
singing  under  Emerich  and  Shakespeare. 
For  a  time  he  settled  in  London,  but  the 
outbreak  of  the  war  caused  him  to  return  to 
Boston,  where  he  is  engaged  in  composition, 
vocal  teaching  and  coaching.  In  1918  he 
temporarily  abandoned  music  to  put  his  legal 
experience  into  war-work,  but  resigned  shortly 
after  the  armistice  was  signed.  His  com- 
positions include  the  following : 

For  orchestra  —  the  choreographic  drama  '  Le  Pied 
de  la  Momie '  (1914,  England),  the  symphonic 
suite  '  Egyptian  Impressions'  (1915,  Boston  Sym- 
phony Orchestra),  the  vocal  poem  'The  Parting,' 
and  the  coloratura  aria  'O  come  hither'  (last 
three,  Carl  Fischer). 

For  string-quartet  — '  Japonaise '  and  '  Clavecin.' 

For  piano  —  'Egyptian  Impressions,'  'Retrospec- 
tions '  (both  Fischer)  and  '  Miniatures  '  (Augener). 

For  voice  —  'Chinese  Mother  Goose  Rhymes,' 
'  Drolleries  from  an  Oriental  Doll's  House,'  '  Into  a 
ship,  dreaming,'  'This  is  the  moon  of  roses,'  'The 
Old  Soldier,'  'You  will  not  come  again,'  '  Yester- 
year,' 'April  Rain,'  'To  the  Water-Nymphs,' 
'  Butterflies,'  '  C'est  mon  ami,'  '  Tell  Me,'  '  Girl  of 
the  red  mouth,'  'Three  Balladettes '  (Fischer); 
'Mistletoe,'  'Some  One,'  'To  Arcady,'  'If  there 
were  dreams  to  sell,'  '  The  Little  Bird,'  '  A 
Memory,'  'To  Columbine,'  'Like  April's  kissing 
May,'  'No  Limit,'  'Shower  of  Blossoms,'  'Sep- 
tember Eve,'  '  The  Window,'  '  I  can't  abear,'  'The 
Little  Old  Cupid  '  (Boston  Music  Co.) ;  '  A  Bag  of 
Whistles,'  'The  auld  Scotch  sangs  '  (Ditson) ; 
'The  Lost  Path,'  'Roses'  (Augener);  'To  Folly 
and  Whim '  (Schott) ;  '  Au  Clair  de  la  Lune ' 
(Homeyer).  [  R.IO  ] 


180      CROSBY  OPERA  HOUSE 


•CYRANO  DE   BERGERAC 


CROSBY  OPERA  HOUSE,  THE,  in 
Chicago,  was  built  in  1865  by  Uranus  H. 
Crosby  on  Washington  Street,  between  State 
and  Dearborn.  It  contained  by  far  the  best 
opera-auditorium  that  Chicago  had  had,  a 
music-hall,  art-gallery  and  numerous  studios 
for  artists  and  others.  It  was  opened  with 
opera-seasons  under  Grau  and  a  concert- 
season  under  Max  Strakosch,  and  for  a  time 
was  the  arena  for  much  good  music.  But  the 
investment  did  not  pay,  and  in  January,  1867, 
the  building  was  put  up  at  lottery,  but  in  some 
way  merely  transferred  to  Albert  Crosby, 
who  continued  it  with  curiously  diversified 
undertakings.  In  the  fall  of  1871  it  was 
renovated  at  large  expense  and  the  work  had 
just  been  completed  when  on  Oct.  8,  the 
day  before  it  was  to  be  reopened  with  a  concert 
by  the  Thomas  Orchestra,  it  was  destroyed 
in  the  great  fire.  See  Upton,  Musical  Mem- 
ories, pp.  236-51. 

CROSS,  BENJAMIN  (1786-1857).  See 
Register,  3. 

CROSS,  MICHAEL  HURLEY  (Apr.  13, 
1833,  Philadelphia  :  Sept.  [26,  1897,  Phila- 
delphia) ,  son  and  pupil  of  the  foregoing,  also 
studied  composition  with  Meignen,  violin  with 
Charles  Hommann  and  'cello  with  Engelke. 
From  1848  he  was  organist,  first  at  St.  Patrick's 
and  other  churches,  from  1862  at  the  (R.  C.) 
Cathedral  and  from  1880  at  Holy  Trinity 
(P.  E.).  He  directed  various  local  organiza- 
tions, besides  others  in  New  York  and  Brook- 
lyn, and  was  a  prominent  teacher  (Huneker 
was  one  of  his  pupils).  Like  his  father,  he 
exerted  a  powerful  influence  for  good  in  the 
musical  life  of  Philadelphia.     [  R.4  ] 

CROSSLAND,  ROBERT  EXELBY.  See 
Colleges,  3  (Culver-Stockton  C,  Mo.). 

CROUCH,  FREDERICK  WILLIAM 
NICHOLLS  (1808-1896).     See  Register,  4. 

JCUI,  CfiSAR  ANTONOVITCH  (Jan. 
18,  1835,  Vilna,  Russia  :  Mar.  14,  1918, 
Petrograd).  See  article  in  Vol.  i.  643-5,  add- 
ing that  'Mam'zelle  Fifi'  was  produced  in 
Petrograd  in  1903  and  that  two  further  operas 
were  'Matteo  Falcone'  (1908,  Moscow)  and 
'The  Captain's  Daughter'  (1911,  Petrograd). 
Note  also  critical  sketch  by  the  Comtesse 
Mercy-Argenteau,  Paris,  1888,  and  Weimarn, 
Cui  as  Song-Writer,  Petrograd,  1897,  besides 
general  works  on  Russian  music. 

CUNNINGHAM,  CLAUDE  (b.  1880). 
See  Register,  9. 


CURRIER,  AARON  HEALY.  See  State 
Universities  (Mont.  State  C). 

CURRY,  ARTHUR  MANSFIELD  (Jan. 
27,  1866,  Chelsea,  Mass.),  was  a  pupil  of 
Kneisel  in  violin  and  of  MacDowell  in  com- 
position and  orchestration.  For  some  years 
he  was  engaged  as  choral  and  orchestral 
conductor.  In  1914  he  taught  in  Berlin, 
but  then  became  teacher  of  harmony  at  the 
New  England  Conservatory  in  Boston.  His 
larger  works,  still  in  manuscript,  are  the 
overture  'Blomidon'  (1902,  Worcester);  an 
'  ;6legie '  in  the  form  of  an  overture ;  the 
symphonic  poem  'Atala,'  after  Chateau- 
briand (1908,  given  1911,  Boston  Symphony 
Orchestra);  and  'The  Winning  of  Amarac,' 
a  Keltic  legend  for  reader,  women's  chorus 
and  orchestra.  He  has  published  choruses 
for  men's,  women's  or  mixed  voices,  11  songs, 
a  Barcarolle  and  other  piano-pieces.     [  R.9  ] 

CURTIS,  HENRY  HOLBROOK  (1856- 
1920).     See  Register,  7. 

CURTIS,  NATALIE.     See  Burlin. 

CURTIS,  VERA  (b.  1880).  See  Register, 
10. 

CUTLER,  HENRY  STEPHEN  (1825- 
1902).     See  Register,  4. 

CUTTER,  BENJAMIN  (Sept.  6,  1857, 
Woburn,  Mass.  :  May  10,  1910,  Boston), 
was  the  son  of  a  physician  of  musical  tastes. 
He  studied  violin  with  Eichberg  in  Boston  and 
with  Edmund  Singer  in  Stuttgart,  harmony 
with  Emery  in  Boston  and  composition  with 
Goetschius  and  Seifriz  in  Stuttgart.  On 
his  return  to  Boston  he  first  taught  violin, 
but  from  1888  concentrated  upon  harmony 
and  analysis,  becoming  professor  at  the  New 
England  Conservatory.  In  1882-89  he  played 
in  the  Boston  Symphony  Orchestra.  He  was 
held  in  high  regard  as  a  superior  teacher  by 
a  large  number  of  pupils.  His  larger  com- 
positions were  a  Mass  in  D,  the  cantata  'Sir 
Patrick  Spens,'  considerable  chamber-music, 
and  choral  works,  sacred  and  secular.  He 
also  wrote  Exercises  in  Harmony,  1901,  Har- 
monic Analysis,  1902,  and  How  to  Study 
Kreutzer,  1903.     [  R.7  ] 

'CYRANO  DE  BERGERAC  An  opera 
in  four  acts  by  Walter  Damrosch  on  a  libretto 
made  by  William  J.  Henderson  after  the  play 
by  Rostand.  It  was  first  given  at  the  Metro- 
politan Opera  House  in  New  York  on  Feb. 
27,  1913,  under  the  direction  of  Hertz,  and  four 
times  repeated. 


LEOPOLD  DAMROSCH 


D 


DAILEY,     LEE    N.       See    Colleges,    3       organized  the  Denver  Chorus  Club  in  1882, 


(Yankton  C,  S.  D.). 

JDALE.  BENJAMIN  JAMES  (July  17, 
1885,  London,  England).  See  note  in  Vol. 
V.  628.     The  list  of  his  works  in  1919  was 

Symphony  in  A,  for  orchestra. 

Overture,  'The  Tempest,'  for  orchestra  (1902). 

Fantasia  for  organ  and  orchestra  (1903). 

Concert-Overture  in  G  minor,  for  orchestra  (1904). 

Suite  for  viola  and  piano  (1907)  (Novello). 

Phantasy  for  viola  and  piano  (1911)  (Schott). 

Introduction  and  Andante  for  six  violas  (1913). 

English  Dance,  for  violin  and  piano  (1916)  (Anglo- 
French  Music  Co.). 

'Before  the  paling  of  the  stars,'  for  chorus  and 
orchestra    (1912)    (Novello). 

Sonata  in  D  minor,  for  piano  (1905)  (Novello). 

'Night-Fancies,'  for  piano  (1907)   (Ricordi). 

The  songs  'Carpe  Diem'  and  'A  Dirge  of  Love' 
(1918)    (Shakespeare,  Novello). 

Three  Carols,  '  In  Bethlehem,  that  noble  place,' 
'The  Holy  Birth,'  'The  Shepherds  and  the 
Mother'  (first  two,  Novello,  third,  Stainer  &  Bell). 

His  viola-music  has  received  special  at- 
tention, and,  despite  its  novelty,  has  been 
widely  performed.  From  August,  1914,  he 
was  long  interned  at  Ruhleben,  Germany. 

DALMORES,  CHARLES  (Dec.  31,  1871, 
Nancy,  France),  was  trained  at  the  Nancy 
Conservatory,  where  he  took  prizes  for  French 
horn  and  solfeggio,  with  'cello  as  a  secondary 
study.  The  city  of  Nancy  provided  means 
for  his  going  on  with  the  horn  at  the  Paris 
Conservatory.  Here  he  took  first  prize  in 
1890  and  played  two  years  each  in  the  Colonne 
and  Lamoureux  Orchestras.  In  1894  he 
became  professor  at  the  Lyons  Conservatory. 
Meanwhile  he  studied  singing  with  Dauphin, 
and  in  1899  made  his  debut  as  tenor  at  the 
Theatre  des  Arts  in  Rouen.  Then  followed 
six  years  at  La  Monnaie  in  Brussels,  seven 
at  Covent  Garden  and  four  (1906-10)  at  the 
Manhattan  Opera  House  in  New  York. 
Since  1910  he  has  been  with  the  Chicago  Opera 
Company.  He  took  the  role  of  Lohengrin 
at  Bayreuth  in  1908  and  in  Berlin.  He  sings 
in  French,  Italian  and  German,  and  has 
appeared  in  'Thais,'  'Louise,'  'Pelleas  et 
Melisande,'  'Salome,'  'Samson  et  Dalila,' 
■Quo  Vadis,'  'Romeo  et  Juliette,'  'Aida,' 
'Siegfried,'  'Die  Gotterdammerung,'  'Le  Roi 
Arthus,'  'Carmen'  and  'Faust.'     [  R.9  ] 

DAMBOIS,  MAURICE  F^LIX  (b.  1889). 
See  Register,  10. 

DAMROSCH,  FRANK  HEINO  (June  22, 
1859,  Breslau,  Germany).  See  article  in  Vol. 
i.  656-7.  He  was  educated  in  the  public 
schools  and  the  College  of  the  City  of  New 
York.  Among  his  piano- teachers  was  Joseffy. 
In  1879  he  went  to  Denver  because  he  wished 
to    make   his   own    way   on   his   merits.     He 


and  was  appointed  music-director  in  the 
public  schools  in  1884.  Among  his  many 
engagements  as  choral  conductor  in  or  near 
New  York  after  1885  the  most  important  was 
with  the  Oratorio  Society,  which  continued 
till  1912.  In  1905  he  became  director  of  the 
Institute  of  Musical  Art,  founded  and  en- 
dowed by  James  Loeb,  and  still  occupies  this 
position.  The  aim  of  his  life  has  been  to  spread 
the  appreciation  and  culture  of  good  music 
among  all  classes.  The  People's  Singing- 
Classes  have  initiated  thousands  of  wage- 
earners  into  the  choral  works  of  the  great 
masters.  The  Symphony  Concerts  for  Young 
People  are  training  children  and  adults  to 
appreciate  symphonic  music.  The  Musical  Art 
Society  emphasizes  the  old  Flemish  and  Italian 
masters,  such  as  Palestrina  and  Orlando  di 
Lasso,  and  also  the  modern  schools  of  a 
cappella  singing,  appealing  to  a  highly  cul- 
tivated taste.  The  Institute  of  Musical  Art 
provides  for  serious  and  talented  students 
the  best  obtainable  musical  education,  equal 
to  that  of  the  foremost  European  conserva- 
tories. He  has  written  Some  Essentials  in  the 
Teaching  of  Music,  1916,  and  has  edited  many 
choral  works,  particularly!  for  the  Musical  Art 
Society.  In  1904  he  received  the  degree  of 
Mus.D.  from  Yale  University.     [  R.7  ] 

DAMROSCH,  LEOPOLD  (Oct.  22,  1832, 
Posen,  Germany  :  Feb.  15,  1885,  New 
York).  See  article  in  Vol.  i.  656.  Dr.  Dam- 
rosch  was  of  commanding  presence  and  strong 
character.  Although  his  constitution  was 
not  robust  he  had  an  impressive  fund  of 
energy  and  magnetism.  All  his  life  he  strove 
with  every  fiber  of  body  and  spirit  for  the 
realization  of  the  highest  art-ideals  and  was 
able  to  communicate  his  zeal  to  all  about 
him.  On  his  arrival  in  America  he  found  the 
old  Italian  operas  esteemed  the  greatest  treat 
of  the  musical  season.  Symphonic  music 
was  presented  with  mechanical  precision  in 
execution,  but  failed  to  render  the  spirit  of 
the  music.  Oratorios  were  performed  in 
a  tedious  and  perfunctory  manner.  Against 
opposition  from  the  established  forces,  he 
gradually  attracted  the  cooperation  of  men 
and  women  of  true  culture  with  whose  help 
he  organized  the  musical  societies  mentioned 
in  Vol.  i.  and  gained  the  opportunity  to  bring 
the  true  genius  of  the  great  masters  to  the 
consciousness  of  the  musical  public.  It  was 
often  a  struggle  against  ignorance,  indifference 
and  ill-will,  but  by  his  energy,  perseverance 
and  knowledge,  by  his  high  artistic  perception, 
and  by  the  charm  of  his  personality,  he 
succeeded    in    winning    the    admiration    and 


181 


182 


DAMROSCH 


DA  PONTE 


confidence  of  the  lovers  of  good  music.  In- 
deed, the  great  advance  in  the  appreciation 
and  culture  of  music  in  America  during  the 
last  forty  years  dates  from  the  years  of  his 
activity  in  New  York  and  is  largely  due  to 
his  labors.     [  R.6  ] 

DAMROSCH,  WALTER  JOHANNES 
(Jan.  30,  1862,  Breslau,  Germany).  See  arti- 
cle in  Vol.  i.  657.  He  is  still  conductor 
of  the  New  York  Symphony  Society,  which 
was  endowed  in  1914  by  Harry  Harkness 
Flagler,  its  president,  with  an  annual  income 
of  ,5100,000.  In  1917  he  also  returned  to  the 
conductorship  of  the  New  York  Oratorio 
Society.  He  directed  the  first  American 
productions  of  Tchaikovsky's  Fifth  and  Sixth 
Symphonies,  Brahms'  Fourth,  and  Elgar's 
First  and  Second;  Saint-Sacns'  'Samson  and 
Delilah,'  Tchaikovsky's  'Eugene  Onegin' 
and  Wagner's  'Parsifal.'  His  opera  'Cyrano 
de  Bergerac'  was  performed  at  the  Metro- 
politan Opera  House  on  Fob.  27,  1913;  the 
comic  opera  'The  Dove  of  Peace'  (libretto 
by  Wallace  Irwin)  at  Philadelphia  and  New 
York  in  1912 ;  his  incidental  music  to 
Euripides'  'Iphigenia  in  AuHs'  in  California 
in  1915;  and  he  has  also  composed  incidental 
music  to  Euripides'  'Medea'  and  Sophocles' 
'Electra.'  He  received  the  degree  of  Mus. 
D.  from  Columbia  University  in  1914.  The 
numerous  and  country-wide  tours  of  the 
orchestras  under  his  direction  have  done 
much  for  the  enlargement  of  popular  acquaint- 
ance with  standard  orchestral  works,  besides 
introducing  many  novelties.  In  1920  the 
Symphony  Society,  under  his  leadership, 
made  an  extended  tour  in  Europe.  At  Rome 
he  was  made  a  member  of  the  Order  of  the 
Crown  of  Italy.     [  R.7  ] 

DANA,  LYNN  BOARDMAN  (Oct.  15, 
1875,  Middleport,  N.  Y.),  in  1916  succeeded 
his  father,  William  H.  Dana,  as  head  of 
Dana's  Musical  Institute  at  Warren,  O. 
He  studied  piano  with  Jacob  Schmitt,  di 
Kontski,  Sherwood  and  Goldbeck,  and  theory 
with  H.  Clark  Thayer,  W.  H.  Dana  and  J. 
D.  Cook.  For  fifteen  years  he  was  con- 
nected with  the  Chautauqua  Institution,  in 
1914-16  was  president  of  the  Ohio  M.  T.  A., 
and  he  was  the  first  secretary  of  the  Association 
of  Present  and  Past  Presidents  of  State 
Music  Teachers'  -  Associations.  He  has  com- 
posed the  oratorio  'The  Triumph  of  Faith'; 
many  piano-pieces  and  songs ;  a  sonata  for 
violin  and  piano ;  and  a  trio  for  violin,  'cello 
and  piano.  He  is  director  of  the  American 
Musical  Festival  held  annually  at  Lockport, 
N.Y.     [  R.8  ] 

DANA,  WILLIAM  HENRY  (1849-1916). 
See  Register,  6. 

DANKS,  HART  PEASE  (1834-1903). 
See  Register,  4. 


DANN,  HOLLIS  ELLSWORTH  (May  1, 
1861,  Canton,  Pa.),  after  graduating  from  the 
Canton  High  School  in  1878,  attended  the 
Elmira  Business  College  and  the  Rochester 
School  of  Music,  and  continued  his  musical 
education  for  several  years  with  private 
instructors  in  Boston.  He  received  the 
degree  of  'Mus.D.  from  Alfred  University 
in  1906.  In  1887-1903  he  had  charge  of 
public-school  music  in  Ithaca,  N.  Y.  In 
1906  he  became  the  head  of  the  department 
of  music  in  Cornell  University.  Under  his 
direction  the  Cornell  Music  Festival  and  the 
Cornell  Glee  Club  have  become  renowned. 
In  1910  he  established  courses  in  the  Univer- 
sity summer-school  for  training  supervisors 
and  teachers  of  music,  which  has  become 
a  foremost  agency  of  its  kind.  In  1918-19 
ho  was  song-leader  at  Camp  Taylor  in  Ken- 
tucky. In  1919  he  was  chorus-conductor  for 
the  National  Music  Supervisors'  Conference, 
and  was  made  president  of  the  Conference 
for  1920.  He  has  contributed  much  to 
public-school  music,  through  text-books, 
pamphlets  and  papers.  Since  1910  he  has 
published  Christmas  Carols  and  Hymns,  The 
School  Hymnal,  Assembly  Songs,  2  vols.. 
Standard  Anthems,  vol.  1,  and  The  Hollis 
Dann  Music  Course,  in  seven  grades,  with  a 
Manual  for  Teachers.     [  R.7  ] 

DANNREUTHER,  GUSTAV  (July  21, 
1853,  Cincinnati),  after  preliminary  lessons 
from  local  teachers,  was  sent  by  his  brother 
Edward  to  study  in  Berlin,  where  at  the 
Hochschule  in  1871-73  his  violin-teachers 
were  Joachim  and  De  Ahna.  After  six 
months  in  Paris  he  went  to  London,  where 
he  taught  and  played  for  four  years.  In 
1877  he  returned  to  America  and  joined  the 
Mendelssohn  Quintette  Club,  with  which 
he  traveled  for  three  years.  He  then  settled 
in  Boston  as  teacher  and  player.  With 
C.  N.  Allen  and  Wulf  Fries  he  played  in 
the  Beethoven  String  Quartette,  and  for 
two  years  was  with  the  then  newly-organ- 
ized Boston  Symphony  Orchestra  under 
Henschel.  In  1882-84  he  directed  the  Buffalo 
Philharmonic  Society  and  gave  about  sixty 
chamber-concerts.  Coming  to  New  York 
in  1884,  he  founded  the  Beethoven  String 
Quartette  (from  1894  till  1917  known  as  tho 
Dannreuther  Quartet)  which  was  a  leading 
chamber-music  organization.  Lately  he  has 
devoted  himself  entirely  to  teaching.  He 
has  published  Elementary  Scale-  and  Chord- 
Studies  for  the  Violin  (Breitkopf)  and  has 
in  manuscript  an  extensive  work  on  violin- 
technique.     [  R.6  ] 

'DAPHNE.'  A  comic  opera  by  Arthur 
Bird,  produced  in  New  York  in  1897. 

DA  PONTE,  LORENZO  (Mar.  10,  1749, 
Ceneda    [Vittorio],    Italy     :     Aug.    17,    1838, 


DARBY 


DEBUSSY 


183 


New  York).  See  article  in  Vol.  iii.  789-90. 
In  New  York  he  not  only  joined  himself  to 
Garcia  in  1825-26,  but  largely  through  his 
efforts  the  French  tenor  Montressor  under- 
took an  opera-season  late  in  1832  at  the 
Richmond  Hill  Theater,  which  failed  after 
thirty-five  performances.  He  then  promoted 
the  erection  of  the  Italian  Opera  House  at 
Church  and  Leonard  Streets,  which  was  opened 
on  Nov.  18,  1833,  with  a  company  led  by 
Rivafinoli.  Six  Rossini  operas  and  one  each 
by  Cimarosa,  Pacini  and  Salvioni  (conductor 
of  the  company)  formed  the  repertoire,  and 
the  deficit  after  eight  months  was  $30,000. 
His  Memorie,  4  vols.,  were  published  in  New 
York  in  1823-27.  He  was  buried  in  the 
Catholic  Cemetery  on  East  Eleventh  Street, 
but  in  a  grave  unmarked.  See  Krehbiel, 
Chapters  of  Opera,  pp.  30-6.     [  R.3  ] 

DARBY,  W.  DERMOT  (b.  1885).  See 
Register,  10. 

DARLEY,  WILLIAM.     See  Register,  2. 

DARLEY,  W.  H.  W.  See  Tune-Books, 
1844. 

'DAUGHTER  OF  THE  FOREST,  THE.' 
An  opera  by  Arthur  F.  Nevin,  produced  on 
Jan.  5,  1918,  by  the  Chicago  Opera  Company 
under  the  composer's  direction. 

JDAVEY,  HENRY  (Nov.  29.  1853, 
Brighton,  England),  as  he  possessed  an 
exceptional  memory,  was  very  successful 
in  his  school-days.  In  his  youth  he  assisted 
in  his  father's  business.  At  20  he  went  to 
Leipzig  and  studied  piano,  composition  and 
especially  harmony  for  three  years.  He 
then  lived  at  Brighton  as  teacher  and  writer 
on  musical  subjects  till  he  retired  in  1903. 
Literary  work;  particularly  Shakespearean 
research,  has  since  been  his  principal  occu- 
pation. Besides  many  articles  in  The  Dic- 
tionary of  National  Biography,  he  has  written 
much  in  various  English,  German  and 
American  musical  journals.  His  principal 
works  are  The  Student's  Musical  History,  1891 
(7th  ed.,  1919),  History  of  English  Music, 
1895  (revised  edition  preparing),  Handel,  in 
Masterpieces  of  Music,  1912,  and  apprecia- 
tions in  Kirchenmusikalisches  Jahrbuch  (1896), 
Monatshcfte  fur  AIusik-Geschichte  (1896),  in 
Riemann's  Geschichic  dor  Musik  seit  Beethoven 
(1900)  and  in  Soubies'  Histoire  de  la  Musique, 
lies  Britanniques.  His  most  important  lit- 
erary work  is  the  Memoir  in  the  Stratford 
Town  Edition  of  Shakespeare.  An  extensive 
commentary  on  Shakespeare's  works  is  well 
advanced. 

X  DA  VIES,  HENRY  WALFORD  (Sept. 
6,  1869,  Oswestry,  England).  See  articles 
in  Vols.  i.  670-1  and  v.  628-9.  In  addition 
to  his  duties  at  the  Temple  Church,  he  was 
conductor  of  the  London  Church  Choir 
Association  in    1901-13,   has   been  active   as 


an  examiner  and  lecturer  on  musical  subjects, 
and  during  the  war  was  a  leader  in  the  provision 
of  music  for  British  soldiers.  He  has  recently 
become  professor  at  the  University  of  Wales. 
His  recent  compositions  aro  the  cantatas  '  Five 
Sayings  of  Jesus'  (1911)  and  'The  Song  of  St. 
Francis'  (1912);  the  choral  suite  'Noble 
Numbers ' ;  the  orchestral  suites  '  Parthenia ' 
(1911)  and  'Wordsworth'  (1913);  'Conver- 
sations,' a  suite  for  piano  and  orchestra  (1914) ; 
and  the  a  cappella  'Short  Requiem'  (1915). 

DA  VIES,  WILLIAM.  See  Colleges,  3 
(Midland  C,  Neb.). 

DAVIS,  DAVID  (b.  1855).    See  Register,  7. 

DAVIS,  GEORGE  H.  (d.  1879).  See  Reg- 
ister, 4. 

DAVIS,  JESSIE,  n6e  Bartlett  (1860-1905). 
See  Register,  6. 

DAVIS,  JOHN.     See  Register,  3. 

DAVIS,  JOHN  HERBERT  (b.  1860). 
See  Register,  7. 

DAY,  H.  W.     See  Tune-Books,  1842. 

'DAWN  OF  THE  WEST,  THE.'  An 
opera  in  four  acts  by  Emil  Enna,  on  a  text 
by  Freda  Gratke,  privately  performed  at 
Portland,  Ore.,  on  Nov.  7,  1915. 

DAYAS,  WILLIAM  HUMPHRIES  (Sept. 
12,  1864,  New  York  :  May  3,  1903,  Man- 
chester, England),  having  been  an  organist 
from  an  early  age,  studied  piano  with  S.  B. 
Mills  and  Joseffy,  and  organ  and  counter- 
point with  S.  P.  Warren.  In  Germany  (from 
1881)  he  was  the  pupil  of  Kullak,  Ehrlich, 
Urban  and  Haupt,  and  was  one  of  the  last 
group  of  those  under  Liszt.  In  1888  he  made 
a  concert-tour  with  Senkrah.  In  1890  he 
succeeded  Busoni  as  principal  piano-teacher 
at  the  musical  college  in  Helsingfors.  Thence 
he  went  to  Wiesbaden  and  Cologne,  tarried 
a  while  in  New  York,  and  in  1896  became 
principal  piano-teacher  at  the  Manchester 
College  of  Music,  succeeding  Hall6  and  holding 
this  position  till  his  death.  He  comro=;ei  1  two 
sonatas  for  organ,  a  string-quartet,  r.  lonata 
for  violin  and  piano,  a  sonata  for  'cello  and 
piano,  four-hand  waltzes  for  piano,  a  suite 
for  strings  (1886,  Weimar),  songs,  and  pieces 
for  piano  and  organ.  His  daughter,  ICarin 
Elin  Dayas,  appeared  as  a  pianist  in  Berlin 
in  1916.     [  R.7  ] 

DEARBORN,  B.     See  Tune-Books,  1796. 

DEARBORN,  E.  R.  See  Tune-Books, 
1841. 

DE  BEGNIS,  GIUSEPPE  (1793-1849). 
See  Register,  3. 

t  DEBUSSY,  CLAUDE  ACHILLE  (Aug. 
22,  1862,  St.  Germain-en-Laye,  France  : 
Mar.  26,  1918,  Paris).  See  article  in  Vol.  i. 
676.  Madame  de  Sivry,  pupil  of  Chopin  and 
mother  of  Charles  de  Sivry,  was  his  first 
teacher.  He  entered  the  Paris  Conservatory 
in    1873,    studying    piano    with    Marmontel, 


184 


DEBUSSY 


DEBUSSY 


harmony  with  Lavignac  and  composition  with 
Guiraud.  Beginning  with  1874,  he  won  the 
solffege  medal  for  three  successive  years,  in 
1877  the  second  prize  for  piano,  in  1882  a 
prize  for  counterpoint  and  fugue,  and  two 
years  later  the  Prix  de  Rome.  In  Italy  in 
1887  he  composed  his  'Printemps'  for  orches- 
tra and  chorus,  the  cantata  'La  Demoiselle 
tHue '  and  a  '  Fantaisie '  for  piano  and  orchestra. 
The  dates  in  the  appended  list  indicate  the 
progress  after  his  return.  The  'Prelude  a 
I'Apr^s-Midi  d'un  Fauno,'  first  performed 
in  1894,  and  published  eight  years  later,  was 
his  first  work  to  attract  general  attention. 
Ten  years  were  spent  on  'Pelleas  et  Melisande,' 
first  performed  in  1902.  In  'The  Musical 
Times,'  for  May,  1918,  Jean-Aubry  presented 
the  following  complete  list  of  his  compositions  : 

For  Orchestra  — 

Symphonic  Poem,  'Almanzor,'  after  Heine  (1886). 
Symphonic  Suite,   'Printemps,'   in  two  parts,   for 

chorus  and  orchestra  (1887,  revised  and  enlarged 

1913). 
Fantaisie  for  piano  and  orchestra  (1889). 
'Marche  Ecossaise  sur  un  Thfime  Populaire'  (1891). 
Eglogue,    'Prelude    i    I'Apres-Midi   d'un    Faune,' 

after  Mallarmg  (1892,  first  given  in  1894). 
Incidental  Music  to  'King  Lear'  (1897-99). 
'Trors    Nocturnes'  —  'Nuages,'    'F6tes,'    'SirSnes' 

—  for  chorus  and  orchestra  (1897). 
'Danse  Profane'  and  'Danse  Sacr^e,'  for  harp  and 

orchestra  or  piano  and  strings  (1904). 
Symphonic    Sketches,    'La    Mer'  —  'De   I'aube    5, 

midi  sur  la  mer,'  '  Jeux  de  vagues,'  'Dialogue  du 

vent  et  de  la  mer'  —  (1903-05). 
'Images,'  Set    3  —  'Gigues,'  'Iberia,'  'Rondes  de 

Printemps'  (1909). 
Incidental  Music  to  'Le  Martyre  de  Saint-Sfibas- 

tien'  (1911). 
Ballet,  'Jeux'  (1912). 
L6gende  Dans6e,  'Khamma'  (1912). 
Chamher-Music  — 

String-Quartet,  op.  10  (1893). 
Rhapsody  for  clarinet  and  piano  (1910). 
Sonata  for  'cello  and  piano  (1915). 
Sonata  for  flute,  viola  and  harp  (1916). 
Sonata  for  violin  and  piano  (1917). 
Piano-Music  — 

'Arabesque,'  nos.  1  and  2  (1888). 

'Rfeverie';      Ballade;      Danse;      'Danse    Roman- 

tique';   Nocturne  (1890). 
'Suite    Bergamasque'  —  Pr61ude,    Menuet,    'Clair 

de  Lune,'  Passepied  (1890),  Mazurka  (1891). 
'Pour   le    Piano'  —  Prelude,    Sarabande,   Toccata 

(1901). 
'Estampes'  —  'Pagodes,'    'Soiree    dans    Grenade,' 

'  Jardins  sous  la  pluie'  (1903). 
'D'un  Cahier  d'Esquisses'   (1903)   (Schott). 
'Masques';    'L'Isle  Joyeuse'  (1904). 
'Images,'  Set  1  —  'Reflets  dans  I'Eau,'  'Hommage 

S,  Rameau,'  'Mouvement'  (1905). 
'Images,'  Set  2  —  'Cloches  k  travers  les  Feuilles,' 

'Et    la    Lune    descend  sur  le  Temple    qui    fut,' 

'Poissons  d'Or'  (1907). 
'The  Children's  Corner,'  six  pieces  (1908). 
'Hommage  k  Haydn'  (1909). 
Valse,  'La  Plus  que  Lente'  (1910). 
Twelve  Preludes,  Sets  1  and  2  (24  in  all)  (1910). 
Children's  Ballet,  'La  Boite  h  Joujoux*  (1910). 
'Berceuse  H^roique,'  dedicated  to  King  Albert  of 

Belgium  (1914). 


Twelve    Etudes,    dedicated     to     the    memory    of 

Chopin  (1915). 
Petite  Suite  for  four  hands  —  'En  Bateau,'  Cor- 

t6ge,  Menuet,  Ballet  (1904). 
Six  'fipigraphes  Antiques,'  for  four  hands  (1915). 
'En  Blanc  et  Noir,'  three  pieces  for  two  pianos 

(1915). 
Lyrical  Works  — 

Cantata,  'L'Enfant  Prodigue'  (1884). 

'La   Demoiselle   Blue,'    for   women's   voices    and 

orchestra  (1887). 
'Pellgas  et  Melisande,'  lyric  drama  in  five  acts  and 

twelve  scenes,  from  Maeterlinck  (1892-1902). 
SoJlgs  — 

'Nuit     d'fitoiles,'     from     De     Banville      (1876) 

(Coutarel). 
'Beau  Soir,'  from  Bourget:  'Fleurs  des  Blfe,'  from 

Girod  (1878)  (Girod). 
'Mandoline,'  from  Verlaine  (1880). 
Three     Melodies — 'Belle     au     Bois     Dormant,' 

'Voici  que  le  Printemps,'  'Paysage  Sentimental' 

(1887)  (Soci^t^  Nouvelle). 
'Les  Cloches'  and  'Romance,'  from  Bourget  (1887). 
Five     Poems     from     Baudelaire  —  'La     Balcon,' 

'Harmonie  du  Soir,'  'Le  Jet  d'Eau,'  'Recueille- 

ment,'  'La  Mort  des  Amants'  (1890)  (Librairie 

de  I'Art  Ind^pendant). 
'Dans  le  Jardin,'  from  Gravollet :    'Le  Ang^lus,' 

from  Le  Roy  (1891)   (Hamelle). 
Three  Mfilodies  from  Verlaine  —  '  Le  Mer  est  plus 

Belle,'  'Le  Son  du  Cor  s'Afflige,'  'L'Eschelon- 

ment  des  Haies'  (1891)  (Hamelle). 
'Fetes    Galantes,'     Set     1,    from    Verlaine  —  'En 

Sourdine,'  'Fantoches,'  'Clair  de  Lune'   (1892). 
'Proses      Lyriques,'      text     by      composer  —  'De 

Reve,'  'De  Greve,'  'De  Fleurs,'  'DeSoir'  (1894- 

95). 
'Chansons  de  Bilitis,'  from  Louys  —  'La  Fldte  de 

Pan,'  'La  Clevelure,'  'Le  Tombeau  des  Naiades' 

(1898). 
'  Airettes  Oubli^es,'  from  Verlaine,  six  pieces  (1888- 

1903). 
'Fetes  Galantes,'  Set  2,  from  Verlaine  —  'Les  In- 

gfous,'  'Le Faune,'  'CoUoque Sentimental'  (1904). 
'Trois      Chansons     de      France'  —  Rondel,      'La 

Grotte,'  Rondel  (1904). 
Three  Ballades  of  Villon  (1910). 
'Le  Promenoir  des  Deux  Amants,'  from  Tristan 

I'Hermite  (1910). 
'Noel    des    Enfants   qui    n'ont    plus    de    Mai.son,' 

text  by  composer  (1915). 
Three  Chansons  for  quartet,  from  Charles,  Duke 

of  Orleans  (1908). 
Transcriptions  — 

Schumann's  'A  la  Fontaine,'  op.  35,  for  piano  solo. 
Gluck's  'Caprice  sur  les  Airs  de  Ballet  de  Alceste' 

(Saint-Saens)    for  piano,  four  hands. 
Saint-Saens'  'Introduction  et  Rondo  Capriccioso,' 

for  two  pianos. 
Ballet-Music  from  Saint-Saens'  'Etienne  Marcel,' 

for  two  pianos. 
Saint-Saens'  2nd  Symphony  in  A  minor,  for  two 

pianos. 
Overture   to   Wagner's    'The    Flying    Dutchman,' 

for  two  pianos. 
Schumann's   'Six   Studies  in   Canon,'   op.   56,    for 

two  pianos. 
Satie's  'Gymnop6dies,'  nos.  1  and  3,  for  orchestra. 
In  addition,  M.  Jean-Aubry  gives  a  list  of 
Debussy's  literary  works.  A  bibliography 
of  works  upon  Debussy  is  given  in  Baker, 
Diet,  of  Musicians,  pp.  197,  1082.  Oilman's 
guide  to  'Pelleas  et  Melisande'  (1907)  should 
also  be  mentioned. 


DECKER 


DEGREES  IN  MUSIC 


185 


DECKER,  MYRON  A.  (1823-1901).  See 
Register,  4. 

DECKER  &  SON  is  a  well-known  piano- 
making  business,  founded  at  Albany,  N.  Y., 
in  1856  by  Myron  A.  Decker.  In  1864  it  was 
removed  to  New  York  and  took  its  present 
name  in  1875,  when  Frank  C.  Decker  was 
admitted.     He  is  now  its  president. 

DEEMS,  JAMES  MONROE  (1818-1901). 
See  Register,  4. 

DEGREES  IN  MUSIC,  ACADEMIC.  In 
the  United  States  the  right  to  confer  academic 
degrees  is  vested  in  universities  and  colleges 
by  the  charters  which  they  hold  from  the 
States  as  such,  not  from  the  Federal  Govern- 
ment. The  anomalies  and  infelicities  in 
American  practice  about  such  degrees  which 
are  often  noted  arise  both  from  the  excessive 
freedom  with  which  the  right  has  been  granted 
and  with  which  it  has  sometimes  been  exercised. 
In  those  subjects  in  which  a  gradation  of  de- 
grees is  observed  that  of  'Bachelor'  is  given 
on  the  completion  of  a  stipulated  course  of 
undergraduate  study,  that  of  'Master'  either 
for  the  completion  of  a  further  or  post-graduate 
course  or  for  the  execution  of  some  meritorious 
piece  of  professional  work,  but  in  the  United 
States  that  of  'Doctor,'  except  in  medicine 
(and  allied  subjects)  and  'philosophy,'  has 
usually  been  given  honoris  causa  —  a  practice 
obviously  open  to  abuse. 

It  is  said  that  the  first  instance  of  the  degree 
of  Mus.B.  was  in  1876  (Boston  University). 
The  use  of  it  as  marking  the  completion  of 
a  four-years'  course  in  music  (somewhat 
analogous  to  that  leading  to  A.B.)  gradually 
became  established  and  since  1900  has  been 
widespread.  The  degree  of  Mus.M.,  also 
resting  upon  some  form  of  examination,  has 
not  become  common.  There  is  no  definite 
consensus  as  to  the  requirements  for  either 
of  these  degrees,  though  the  standard  is 
evidently  being  advanced  by  most  institutions. 
Some  institutions  give  an  A.B.  'in  music'  for 
college  or  university  work  in  which  music 
has  been  a  'major'  subject.  As  a  rule,  the 
Canadian  universities  tend  to  follow  the  Eng- 
lish practice,  giving  musical  degrees  only  upon 
examination  or  'exhibition.'  Composition 
figures  more  largely  with  them  than  with  insti- 
tutions in   the  United  States. 

For  obvious  reasons  there  is  nothing  in 
America  corresponding  to  the  Union  of 
Graduates  in  Music  in  England.  Indeed, 
there  is  little  information  accessible  as  to 
who  have  received  the  degree  of  Mus.D. 
For  this  reason  the  following  list,  compiled 
from  such  sources  as  are  at  hand,  may  be 
interesting  as  a  contribution  to  the  curious 
history  of  the  subject.  It  is  certainly  not 
complete  and  may  not  be  entirely  accurate, 
but  its  magnitude  is  at  least  surprising. 


1849     Henry  Dielman  (Georgetown  >). 

1855  Lowell  Mason  (New  York). 

1856  James  P.  Clarke  (Toronto). 
1858     Thomas  Hastings  (New  York). 

1864  Henry  S.  Cutler  (Columbia). 

S.  Austen  Pearce  (O.xford,  Eng.). 
Gustav  J.  Stoeckel  (Yale). 
John  H.  Willcox  (Georgetown). 

1865  John  Caulfield  (Georgetown). 
William  H.  Walter  (Columbia). 

1867  James  G.  Barnett  (Yale). 
1869  Eben  Tourjee  (Wesleyan). 
1872     Uzziah  C.  Burnap  (New  York). 

William  Mason  (Yale). 

George  F.  Root  (Chicago  ^). 
1874?  W.  Eugene  Thayer  (Oxford,  Eng.). 
1875     William  H.  Doane  (Denison). 
1877     Fr^d^ric  L.  Ritter  (New  York). 

William  H.  Schultze  (SjTacuse). 

1879  Joseph  P.  Holbrook  (Western  Reserve  C). 
Fenelon  B.  Rice  (Hillsdale  C). 

1880  Leopold  Damrosch  (Columbia). 
Horatio  R.  Palmer  (Chicago  2). 
Theodore  Thomas  (Yale). 

1881  John  M.  Loretz,  Jr.  (New  York). 
Horatio  R.  Palmer  (Alfred). 

1882  J.  Max  Mueller  (Georgetown). 
George  W.  Walter  (Columbian). 

1883  Smith  N.  Penfield  (New  York). 

1886  Hugh  A.  Clarke  (Pennsylvania). 
Walter  B.  Gilbert  (Toronto). 

Frank  L.  Humphreys  (St.  Stephen's  C). 
John  R.  Sweney  (Pa.  Milit.  Acad.). 

1887  Reginald  De  Koven  (Racine  C). 

J.  Albert  Jeffrey  (St.  Stephen's  C). 
Arthur  H.  Messiter  (St.  Stephen's  C). 

1888  Walter  B.  Gilbert  (Oxford,  Eng.). 

1889  Maro  L.  Bartlett  (Drake). 
Anton  Gloetzner  (Georgetown). 
Henry  C.  Sherman  (Georgetown). 

1890  Orlando  A.  Mansfield  (Toronto). 
John  K.  Paine  (Yale). 

1891  Luther  O.  Emerson  (Findlay  C). 
Gerrit  Smith  (Hobart  C). 

1892  Elys6e  Aviragnet  (Bucknell). 
Percy  Goetschius  (SjTacuse). 

1893  La  Frone  Merriman  (Alfred). 
George  A.  Parker  (Syracuse). 

1894  Albert  Ham  (Dublin,  Ire.). 
Horatio  W.  Parker  (Yale). 

1895  Jules  Jordan  (Brown). 
Wilson  F.  Morse  (Syracuse). 

1896  William  W.  Gilchrist  (Pennsylvania). 
Edward  A.  MacDowell  (Princeton). 
Alfred  M.  Richardson  (Oxford,  Eng.). 
James  B.  Tipton  (St.  Stephen's  C). 

1897  Louis  R.  Dressier  (Hope  C). 

1898  Edward  Fisher  (Toronto). 
Charles  L.  M.  Harriss  (Toronto). 
Richard  A.  Heritage  (Willamette). 
Ralph  J.  Horner  (Durham,  Eng.). 
Felix  J.  Kelly  (Scharw.  Cons.,  Berlin). 
Waldo  S.  Pratt  (Syracuse). 
Humphrey  J.  Stewart  (Pacific). 

1900  Peter  C.  Lutkin  (Syracuse). 
William  Rhys-Herbert  (Toronto). 
D.  Brink  Towner  (Tennessee). 

1901  Charles  R.  Fisher  (Toronto). 
Hamilton  C.  Macdougall  (Brown). 
Arthur  Mees  (Alfred). 

Harry  C.  Perrin  (Dublin,  Ire.). 

'  With  the  name  of  the  institution  '  University  '  is  to 
be  understood,  unless  '  C  for  '  College  '  is  added. 

2  Not  the  present  University  of  Chicago,  but  the 
earlier  Chicago  University,  discontinued  in  1886. 


186 


DEGREES   IN   MUSIC 


DE  KOVEN 


1902  J.  Humfrey  Anger  (Toronto). 

J.  Lewis  Browne  (Grand  Cons.,  N.  Y.). 
Edward  A.  MacDowell  (Pennsylvania). 
Horatio  W.  Parker  (Cambridge,  Eng.). 

1903  George  W.  Andrews  (Oberlin  C). 
George  C.  Gow  (Brown). 

Ernst  C.  E.  Held  (Syracuse). 

Eva  C.  Taylor  [Mrs.  O.  J.  Nurse]  (Toronto). 

1904  Will  G.  Butler  (Grand  Cons.,  N.  Y.). 
Frank  H.  Damrosch  (Yale). 
Hermann  Poehlmann  (Grove  City  C). 
J.  Fred  WoUe  (Moravian  C). 

1905  Orlando  A.  Mansfield  (Toronto). 

1906  Edward  J.  Biedermann  (Beaver  C). 
Hollis  E.  Dann  (Alfred). 

Henry  P.  Eames  (Cornell  C). 
Albert  Ham  (Toronto). 
Augustus  S.  Vogt  (Toronto). 

1907  Heinrich  H.  Bellamann  (Grayson  C). 
Hyland    E.    Slatre-Wilson     (Grand    Cons., 

N.  Y.). 
Alle  D.  Zuidema  (Detroit  Cons.). 

1908  William  E.  Broome  (Toronto). 

J.  Christopher  Marks  (Grand  Cons.,  N.  Y.). 
William  H.  Santelmann  (Geo.  Washington). 
Alfred  Wooler  (Grand  Cons.,  N.  Y.). 

1909  William  F.  Bentley  (Knox  C). 
John  J.  Landsbury  (Simpson  C). 
John  W.  Thompson  (Knox  C). 

1910  Victor  Baier  (St.  Stephen's  C). 
Louis  A.  Coerne  (Olivet  C). 
Newton  J.  Corey  (Hillsdale  C). 
Frank  Nagel  (Highland  Park  C). 

•  James  H.  Pearce  (Toronto). 

Frank  L.  Rogers  (St.  Stephen's  C). 
Percy  C.  Starnes  (St.  Stephen's  C). 

1911  George  S.  Bohanan  (Rio  Grande  C). 
William  C.  Carl  (New  York). 
Adam  Geibel  (Temple). 

Franz  Kneisel  (Yale). 
Henry  A.  Lang  (Philadelphia  Cons.). 
Edward  Y.  Mason  (Ohio  Northern). 
Charles  H.  Mills  (McGill). 

1912  William  H.  Berwald  (Syracuse). 
Adolf  Frey  (Syracuse). 

J.  E.  Hodgson  (McGill). 
Tali  Esen  Morgan  (Temple). 
Herbert  Sanders  (McGill). 
Edward  B.  Scheve  (Grinnell  C). 

1913  A.  L.  Gabert  (Pontifical  Sch.,  Rome). 
Thaddeus  Rich  (Temple). 

Robert  L.  Schofield  (Puget  Sound  C). 
Alexander  S.  Thompson  (Des  Moines  C). 

1914  Walter  J.  Damrosch  (Columbia). 

1915  Franz  Kneisel  (Princeton). 
Henry  F.  Perrin  (Oskaloosa  C). 

1916  John  H.  Brewer  (New  York). 
Charles  E.  Clemens  (Western  Reserve). 
James  P.  Dodd  (St.  Stephen's  C). 
Miles  Farrow  (Pittsburgh). 

Walter  Keller  (DePaul). 

Albert  A.  Stanley  (Northwestern). 

1917  Clarence  Dickinson  (Northwestern). 
John  McCormack  (Holy  Cross  C). 
Ignaz  J.  Paderewski  (Yale). 
Leopold  Stokow.ski  (Pennsylvania). 

1918  John  W.  Holland  (Potomac). 
William  C.  Macfarlane  (Bates  C). 
David  S.  Smith  (Northwestern). 

1919  James  F.  Cooke  (Ohio  Northern). 
John  T.  Erickson  (Potomac). 
Arthur  Foote  (Trinity  C). 
Philip  H.  Goepp  (Temple). 
Victor  Liska  (Potomac). 
Donald  0.  MacGregor  (Potomac). 


1919  Jean  C.  Moos  (Bethany  C). 
Frederick  C.  Thomas  (Potomac). 
J.  Fred  Wolle  (Pennsylvania). 

1920  Will  Earhart  (Pittsburgh). 

H.  Alexander  Matthews  (Muhlenberg  C). 

The  following  are  Ph.D. : 
1881     Theodore  Baker  (Leipzig,  Ger.). 
1892     John  S.  VanCleve  (Twin  Valley  C). 

1894  John  C.  Griggs  (Leipzig,  Ger.). 

1905  Charles  D.  Campbell  (Strassburg,  Alsace). 
Louis  A.  Coerne  (Harvard). 

1908  Archibald  T.  Davison  (Harvard). 

1909  Otto  Kinkeldey  (Berlin,  Ger.). 

1910  Sigmund  Spaeth  (Princeton). 

1911  Philip  G.  Clapp  (Harvard). 
1914  Alma  W.  Powell  (Columbia). 

The  following  are  Litt.D. : 
1911     Edward  Dickinson  (Oberlin  C). 

1916  Edgar  S.  Kelley  (Miami). 
1920     Clarence  Dickinson  (Miami). 

The  following  are  LL.D. : 

1895  C.  Crozat  Converse  (Rutherford  C). 
1905     George  W.  Chadwick  (Tufts  C). 
1914     David  Bispham  (Haverford  C). 

1917  Edgar  S.  Kelley  (Cincinnati). 

1920     Ignace  J.  Paderewski  (Oxford,  Eng.). 

DE  KOVEN,  HENRY  LOUIS  REGINALD 
(Apr.  3,  1859,  Middletown,  Conn.  :  Jan. 
16,  1920,  Chicago),  was  the  son  of  a  clergy- 
man who  removed  to  England  in  1872.  He 
graduated  from  St.  John's  College,  Oxford, 
in  1879.  At  Stuttgart  he  studied  piano  with 
Speidel  and  Lebert  and  harmony  with  Pruckner, 
at  Frankfort  composition  with  Hauff,  at 
Florence  singing  with  Vannuccini,  at  Vienna 
and  Paris  composition  with  Gen6e  and  Deiibes. 
In  1889-90  he  was  music-critic  for  the  Chicago 
'Evening  Post,'  in  1891-97  for  the  New  York 
'World,'  in  1898-1900  for  the  'Journal,'  in 
1907-12  for  the  'World'  again,  and  in  1895-97 
also  for  'Harper's  Weekly.'  In  1902-05  he 
conducted  the  Philharmonic  Orchestra  in 
Washington,  which  he  organized.  He  became 
from  1887  one  of  the  most  successful  American 
composers  of  light  opera,  the  list  of  works 
including 

'The  Begum'  (1887,  Philadelphia,  McCauIl  Opera 

Company). 
'Don  Quixote'  (1889,  Boston,  The  Bostonians). 
'Robin    Hood'    (1890,    Chicago,    1891,    London, 

as  'Maid  Marian'). 
'The  Fencing-Ma.ster'  (1892,  Boston). 
'The  Knickerbockers'  (1893,  Boston). 
'The  Algerian'  (1893,  Philadelphia). 
'Rob  Roy'  (1894,  Detroit). 
'The  Tzigane'  (1895,  New  York). 
'The  Mandarin'  (1896,  Cleveland). 
'The  Paris  Doll'  (1897,  Hartford). 
'The  Highwayman'  (1897,  New  Haven). 
'The  Three  Dragoons'  (1899,  New  York). 
'Red  Feather'  (1903,  New  York). 
'Happyland'  (1905,  New  York). 
'Student,  King'  (1906,  New  York). 
'The  Golden  Butterfly'  (1907,  New  York). 
'The  Beauty-Spot'  (1909,  New  York). 
'The  Wedding-Trip'  (1911,  New  York). 
'Her  Little  Highness'  (1913,  New  York). 


DE  LAMARTER 


DENNEE 


187 


His  grand  operas  were  'The  Canterbury 
Pilgrims,'  produced  in  New  York  at  the 
Metropolitan  Opera  House  in  March,  1917, 
and  'Rip  van  Winkle,'  produced  in  Chicago 
and  New  York  in  January,  1920  —  the  li- 
brettos in  both  cases  being  by  Percy  Mackaye. 
In  addition,  he  wrote  upwards  of  400  songs  — 
many  very  popular  —  piano-pieces,  a  piano- 
sonata  (unpublished),  an  orchestral  suite  and 
several  ballets.  His  melodic  fertility  and  facile 
scoring  gave  him  a  unique  place,  somewhat 
analogous  to  that  of  Arthur  Sullivan.     [  R.  7  ] 

DE  LAMARTER,  ERIC  (Feb.  18,  1880, 
Lansing,  Mich.),  early  began  organ-study  with 
G.  H.  Fairclough  and  at  fifteen  was  choir- 
director  in  Kalamazoo,  Mich.  After  a  year  in 
Albion  College,  he  began  to  study  piano  with 
Mary  Wood  Chase  in  Chicago  and  organ  with 
Middelschulte.  While  still  in  his  teens  he  be- 
came organist  at  the  New  England  Congrega- 
tional Church  there.  The  year  1901-02  he  spent 
in  Paris  with  Guilmant  and  Widor.  In  1904- 
05  he  taught  at  Olivet  College  in  Michigan. 
In  1911  he  succeeded  Stock  as  director  of  the 
Musical  Art  Society  of  Chicago.  The  next 
year  he  became  organist  of  the  First  Church 
of  Christ,  Scientist,  and  since  1914  has  been 
organist  of  the  Fourth  Presbyterian  Church, 
where  his  frequent  recitals  present  notable 
programs,  especially  of  modern  works.  He 
was  music-critic  for  the  Chicago  'Record- 
Herald'  in  1908-09,  for  the  'Tribune'  in 
1909-10,  and  for  the  'Inter-Ocean'  since  1910. 
In  1918-19  he  acted  as  director  of  the  Chicago 
Symphony  Orchestra  in  Stock's  absence. 
His  overture  to  a  fantastic  comedy,  'The 
Faun,'  was  played  by  the  Chicago  Orchestra 
in  1915.  He  has  also  composed  chamber- 
music,  songs,  piano-  and  organ-pieces,  and 
incidental  music  for  plays.     [  R.8  ] 

tDELIUS,  FREDERICK  (Jan.  29,  1863, 
Bradford,  England).  See  article  in  Vol.  v. 
629-31.  A  dated  list  of  his  compositions  is 
published  in  'The  Musical  Times,'  March, 
1915,  and  includes,  in  addition  to  those  men- 
tioned in  the  above  article : 

Five  Songs   (1888)  ;    Seven  Songs   (1889) ;    Three 

Songs  by  Shelley  (1890). 
'Irmelin,'  a  lyric  drama  in  three  acts  (1890). 
'The  Magic  Fountain,'  a  Ijtic  drama  in  three  acts 

(1894). 
Five  Songs  from  the  Danish  (1897). 
Part-Songs  — '  Midsummer  Songs,'  '  On  Craig  Dhu,' 

both    for   mixed  voices,  'Wanderer's  Song,'  for 

men's  voices. 
'Songs  of  Sunset,'   for  baritone,   soprano,   chorus 

and  orchestra  (1906). 
'Dance  Rhapsody,'  for  full  orchestra  (1909). 
Three  Songs  from  Verlaine  (1893-1910). 
'Fennimore  and  Gerda,'  lyric  drama,  from  Jacob- 
sen's  'Niels  Lynne'  (1910-12). 
'The  Song  of  the  High  Hills,'  for  orchestra  and 

chorus  (1911-12). 
'An  Arabesk,'  for  baritone,  chorus  and  orQhestra 

(1912). 


Two  Tone-Poems  for  small  orchestra  — '  On 
Hearing  the  First  Cuckoo  in  Spring,'  'Summer- 
night  on  the  River'  (1912-12). 

'  North-Country  Sketches'  (1913-14). 

Songs  —  'Chanson  d'Automne,'  from  Verlaine, 
'The  nightingale  has  a  lyre  of  gold,'  from 
Henley,  'Black  Roses,'  from  the  Swedish  of 
Josefson,  'I  Brasil,'  from  Fiona  McLeod. 

Requiem,  for  soli,  choir  and  orchestra  (1914). 

Sonata  for  violin  and  pianoforte  (1905,  revised 
1915). 

Later  compositions  mentioned  in  the  musical 
press  are  a  violin-concerto,  a  double  concerto 
for  violin  and  'cello,  and  a  ballade  for  orchestra. 
His  orchestral  works  have  had  numerous 
performances  in  America,  and  Grainger  has 
played  the  piano-concerto  in  C  minor. 

DE  LUCA,  GIUSEPPE  (b.  1876).  See 
Register,  10. 

DEMAREST,  CLIFFORD  (Aug.  12,  1874, 
Tenafly,  N.  J.),  had  his  first  organ-lessons 
from  his  mother  and  became  her  substitute 
and  later  her  successor.  For  five  years  he 
studied  with  Woodman  in  Brooklyn.  At 
present  he  is  organist  of  the  Church  of  the 
Messiah  (Unitarian)  in  New  York.  He  is 
a  fellow  of  the  A.  G.  O.,  served  several  years 
as  secretary,  and  in  1916-19  was  warden. 
He  has  published  many  anthems,  songs  and 
part-songs,  and  these  organ-compositions : 
'A  Pastorale  Suite,'  in  four  movements, 
Andante  Religioso,  Cantilena,  Canzona,  Can- 
tabile.  Festival  Postlude,  Festival  Finale, 
Melodic  Pastorale,  Aria  in  D,  Prelude  on 
the  tune  'Amsterdam,'  Evening  Meditation, 
and  a  Fantasie  for  organ  and  piano.  He  has 
also  two  published  cantatas,  'The  Shepherds 
of  Bethlehem'  and  'The  Cross  Victorious.' 
His  Hints  on  Organ-Accompaniment  is  useful 
and  popular.     [  R.8  ] 

DEMARQUE.     See  Register,  2. 

DENNfiE,  CHARLES  FREDERICK 
(Sept.  1,  1863,  Oswego,  N.  Y.),  entered  the 
New  England  Conservatory  in  Boston  at 
sixteen,  graduated  in  1883,  and  ever  since 
has  been  a  teacher  of  piano  there.  His 
teachers  were  A.  D.  Turner  and  Mme.  Schiller 
in  piano,  and  Emery  in  composition;  he  also 
studied  with  Von  Billow.  Until  disabled  by 
an  accident  to  his  right  wrist  in  1897,  he  was 
active  as  a  recitaKst,  giving  over  1100  recitals 
in  the  United  States  and  Canada.  He  was 
one  of  the  pioneers  in  the  lecture-recital  field. 
As  a  teacher  he  has  exerted  a  wide  influence. 
His  lyric  and  comic  operas  are  'The  Defender,' 
'The  Belle  of  Newport,'  'Little  Red  Riding- 
Hood,'  'The  Merry-go-round,'  'The  Royal 
Barber,'  'The  Chorus  Girl'  and  'The  Electric 
Spark.'  An  overture  for  orchestra,  a  violin- 
sonata  and  a  suite  for  piano  and  'cello  are 
in  manuscript.  As  a  composer  of  teaching- 
material  for  piano  he  has  been  especially 
successful.     His     Progressive     Technique     hag 


188 


DENNY 


DICKINSON 


been  widely  used,  as  also  his  other  technical 
works.  There  are  four  sonatinas,  a  number 
of  6tudes  and  a  large  group  of  characteristic 
pieces  for  piano,  besides  some  songs  and 
choruses.  He  was  editor  of  the  new  edition 
of  the  Century  Library  of  Music  and  of  certain 
volumes  of  Music  and  Musicians.     [  R.7  ] 

DENNY,  MAUDE  A.  See  State  Uni- 
versities (Nev.). 

DESTINN,  EMMY  [Kittl]  (b.  1878).  See 
R,6£fistGr   9. 

DfiTHIER,  fiDOUARD  (b.  1885).   See  Reg- 

IStrGI*        9 

D^THIER,  GASTON  MARIE  (Apr.  19, 
1875,  Li^ge,  Belgium),  having  been  trained 
by  his  father,  at  twelve  won  a  scholarship  in 
theLi^ge  Conservatory  over  sixty  competitors. 
He  graduated  at  seventeen,  winning  the  gold 
medal  for  piano-  and  organ-playing  and  the 
first  prize  for  fugue.  At  eleven  he  had  been 
organist  at  St.  Jacques'  in  Lifege,  and  at  four- 
teen made  his  debut  as  concert-organist  at 
Malines.  He  came  to  New  York  in  1894  as 
organist  at  St.  Francis  Xavier's  on  the  recom- 
mendation of  GuUmant.  Since  1907  he  has 
forsaken  church-playing  for  concert-work 
and  for  duties  as  organ-teacher  at  the  In- 
stitute of  Musical  Art.  He  has  written  many 
popular  organ-works  (J.  Fischer  &  Bro.),  of 
which  the  caprice  'The  Brook'  is  an  especial 
favorite.     [  R.8  ] 

DETROIT  CONSERVATORY  OF  MU- 
SIC, THE,  was  founded  in  1874  by  Jacob  H. 
Hahn,  who  remained  its  director  till  his  death 
in  1902,  when  he  was  succeeded  by  Francis  L. 
York,  who  is  now  its  head.  The  annual  enroll- 
ment of  students  is  about  1600  and  it  has  over 
400  graduates.  The  faculty  numbers  about  70. 
Its  main  building  is  at  1013  Woodward  Avenue. 
The  Conservatory  has  always  been  managed 
with  notable  energy  and  breadth,  and  is  to 
be  counted  among  the  constructive  forces  for 
sound  musicianship. 

DETROIT  INSTITUTE  OF  MUSICAL 
ART,  THE,  was  founded  in  1914  and  has 
won  a  place  as  an  earnest  school  of  high 
aspirations.  Guy  Bevier  "Williams  is  presi- 
dent, and  the  faculty  includes  about  50 
teachers.  It  is  located  at  1117-21  Woodward 
Avenue. 

DETROIT  SYMPHONY  ORCHESTRA, 
THE,  was  founded  in  1914  by  Weston  Gales 
and  conducted  by  him  till  1918,  when  he  was 
succeeded  by  Ossip  Gabriiovitch.  On  Oct.  23, 
1919,  the  Orchestra  dedicated  the  new  Orches- 
tra Hall,  buUt  for  its  use. 

DETT,  ROBERT  NATHANIEL  (Oct.  11, 
1882,  Drummondville,  Que.),  graduated  from 
the  Niagara  Falls  Collegiate  Institute  in  1903, 
attended  the  Halsted  Conservatory  at  Lock- 
port,  N.  Y.,  and  thence  went  to  the  Oberlin  Con- 
servatory, where  he  won  a  Mus.B.  in  1908  — 


probably  the  first  Negro  to  receive  this  degree 
for  original  composition.  Later  he  also  at- 
tended Columbia  University  in  New  York.  His 
teachers  in  composition  were  G.  W.  Andrews 
and  R.  G.  Cole ;  he  also  has  had  training  in 
community-music  with  P.  W.  Dykema.  He 
taught  for  three  years  at  Lane  College  in 
Jackson,  Miss.,  two  years  at  Lincoln  In- 
stitute in  Jefferson  City,  Mo.,  and  in  1913 
became  head  of  the  vocal  department  at 
Hampton  Institute  in  Hampton,  Va.,  and 
director  of  the  Hampton  Choral  Union.  As 
pianist  he  has  appeared  in  New  York,  Chicago, 
Boston,  Buffalo,  Philadelphia  and  other  cities. 
As  composer  he  has  shown  'how  the  charac- 
teristic accents  of  Negro  music  may  be  devel- 
oped into  genuine  art-forms,  without  resorting 
to  imitations  of  the  white  man's  music'  (G.  D. 
Gunn).     His  works  include 

Suite,  'The  Magnolia,'  for  piano  —  'Magnolias,' 
'The  Deserted  Cabin,'  'My  Lady-Love,' 
'Mammy,'  'The  Place  where  the  Rainbow 
Ends'  (Summy). 
Suite,  'In  the  Bottoms,'  for  piano  —  'Night' 
(Prelude),  'His  Song,'  'Honey,'  'Morning' 
(Barcarolle),  'Juba'  (characteristic  dance) 
(Summy). 
Cantata,    'The   Chariot   Jubilee,'    for   chorus   and 

orchestra  (Church). 
Choruses    a    cappella:     'Listen    to    the    Lambs,' 
'O  Holy  Lord,'  'Music  in  the  Mine'  (all  Schir- 
mer),  'I'll  never  turn  back  no  more,'  'Weeping 
Mary,'   'America  the  Beautiful'   (all  J.   Fischer 
&   Bro.).     Several   arrangements  of   ' spirituals ' 
are  published  by  Church  and  by  Birchard. 
Sonata  in  A-flat,  for  piano. 
Concert- Waltz  and  Ballade,  for  piano. 
'The  Album  of  a  Heart,'  idyllic  pieces  for  piano. 
Andante  in  F,  for  string-quartet. 
Pieces  for  violin  and  piano. 
Cantata,  'The  Death  of  Moses,'  text  by  Frederic 

H.  Martens. 
Song-Cycle,  'The  Heart  of  a  Poet,'  for  mezzo  voice. 

He  has  also  in  manuscript  a  work  on  Negro 
Music  and  a  book  of  verse.     [  R.9  ] 

D'HEMARD,  Mme.     See  Register,  2. 

'DIAPASON,  THE,'  of  Chicago,  a  monthly 
journal  devoted  to  the  interests  of  organ- 
makers  and  organists,  was  founded  in  1910 
by  Siegfried  E.  Gruenstein,  who  has  remained 
its  editor  and  publisher.  It  is  the  official 
organ  of  the  National  Association  of  Organ- 
ists and  of  the  Organ-Builders'  Association 
of  America. 

DICKERSON,  JOSEPH  L.  See  Tune- 
BooKS,  1810. 

DICKINSON,  CLARENCE  (May  7,  1873, 
La  Fayette,  Ind.),  was  educated  first  at 
Miami  University  and  in  1890-94  at  North- 
western University,  by  the  latter  of  which  he 
was  made  A.M.  in  1909  and  Mus.D.  in  1917. 
Miami  University  also  made  him  Litt.D.  in 
1920.  His  musical  training  came  from  William 
Cutler,  Wild  and  Weidig  in  Chicago,  Reimann 
amd  Singer  in  Berlin,  and  Guilmant,  Vierne 
and    Moszkowski   in    Paris.     In   Chicago    he 


DICKINSON 


DITSON 


1S9 


was  for  a  time  at  the  head  of  the  Cosmopolitan 
School  of  Music,  founded  the  Musical  Art 
Society  and  led  it  for  three  years,  conducted 
the  Musical  Club  in  Aurora,  111.,  the  Bach 
Choir  in  Dubuque,  la.,  and  the  Chicago 
English  Opera  Company,  and  was  organist 
of  St.  James'  (Episcopal)  Church.  In  1909 
he  removed  to  New  York,  becoming  organist 
at  the  Brick  (Presbyterian)  Church  and  the 
Temple  Beth-El,  and  since  1912  professor 
at  the  Union  Theological  Seminary,  besides 
being  for  a  time  conductor  of  the  Mendelssohn 
Glee  Club  and  of  the  Bach  Choir  of  Montclair, 
N.  J.  He  was  a  founder  of  the  A.  G.  O.,  and 
has  given  many  organ-recitals,  not  only  in 
the  United  States  and  Canada,  but  in  France, 
Germany  and  Spain.  His  published  com- 
positions include  many  vocal  solos  and 
choruses  for  men's,  women's  or  mixed  voices ; 
a  symphony  for  organ,  and  other  organ- 
pieces  ;  and  works  for  organ  and  stringed 
instrmnents.  He  has  edited  a  series  of 
Sacred  Choruses,  Ancient  and  Modern  (80 
mnnbers  thus  far),  the  texts  mostly  trans- 
lated by  Mrs.  Dickinson,  a  Historical  Recital 
Series  for  Organ  (27  numbers  thus  far),  a 
Book  of  Eighty  Aniens  and  a  Book  of  Forty 
Antipho7is  (in  press).  Among  his  unpublished 
compositions  are  two  light  operas,  'The 
Medicine-Man'  (Chicago,  1895)  and  'Priscilla.' 
With  his  wife,  Helen  A.  Dickinson,  he  has 
published  Excursions  in  Musical  History,  1917. 
He  also  contributed  to  The  American  En- 
cyclopedia of  Music,   1910.     [  R.7  ] 

DICKINSON,  EDWARD  (Oct.  10,  1853, 
West  Springfield,  Mass.),  graduated  from 
Amherst  College  in  1876  and  was  musically 
trained  mostly  at  the  New  England  Con- 
servatory and  by  Eugene  Thayer  in  Boston 
and  by  Klindworth  and  Langhans  at  Berlin. 
From  1872  he  was  organist  at  Springfield, 
Mass.,  and  in  1879-85  at  Elmira,  N.  Y., 
where  in  1883-92  he  was  also  music-director 
at  Elmira  College.  Since  1893  he  has  been 
professor  in  Oberlin  College  and  Conservatory, 
devoting  himself  to  the  development  of  a 
system  of  instruction  in  the  history  and 
philosophy  of  music  which  is  singular,  if  not 
unique,  for  scope,  thoroughness  and  efficiency. 
In  connection  with  this  work  as  teacher  he 
has  published  Music  in  the  History  of  the 
Western  Church,  1902,  The  Study  of  the  History 
of  Music,  1905  (3rd  ed.,  1914),  The  Education 
of  the  Music-Lover,  1911,  and  Music  and  the 
Higher  Education,  1915 — all  works  of  sterling 
thought,  presented  with  much  earnestness 
and  vigor  of  expression.  He  has  also  written 
much  for  magazines  and  reviews.  In  1911 
Oberlin  College  made  him  Litt.D.    [  R.6  ] 

DIECKMANN,  CHRISTIAN  WILLIAM 
(b.  1880).  See  Colleges,  2  (Agnes  Scott  C, 
Ga.). 


DIGGLE,  ROLAND  (b.  1885).  See  Reg- 
ister, 9. 

DIPPEL,  JOHANN  ANDREAS  (Nov.  30, 
1866,  Kassel,  Germany),  was  originally  trained 
at  Kassel  in  1882-87  for  a  banking  career,  but 
also  studied  singing  with  Frau  Zottmayr.  He 
made  his  debut  as  tenor  at  the  Bremen  Stadt- 
Theater  in  1887  as  the  Steuermann  in  'Der 
fliegende  Hollander,'  and  pursued  further  stud- 
ies with  Hey  in  Berlin,  Leoni  in  Milan  and 
Ress  in  Vienna.  Until  1892  he  remained  at 
Bremen,  but  in  1890-91  sang  at  the  Metro- 
politan Opera  House,  making  his  debut  in 
'Asrael'  in  1890  under  the  direction  of  Seidl. 
He  made  a  concert-tour  in  America  in  1892, 
sang  at  the  Breslau  Stadt-Theater  in  1892-93, 
and  then  spent  five  seasons  at  the  Vienna 
Imperial  Opera.  In  1898-1908  he  was  at  the 
Metropolitan  Opera  House  again,  singing  also 
at  Covent  Garden,  the  Munich  Royal  Opera 
and  the  Bayreuth  Festivals.  Then  came  two 
years  as  administrative  manager  of  the  Metro- 
politan Opera  House  and  three  (1910-13)  as 
general  manager  of  the  Chicago-Philadelphia 
Opera  Company.  Since  1913  he  has  given 
light  opera  with  his  own  company.  As  a 
singer  he  has  an  unusual  repertory,  including 
about  150  German,  French  and  Italian  operas 
and  60  oratorios.  He  has  sung  some  roles, 
such  as  that  of  Raoul  in  'Les  Huguenots,'  in 
German,  French  and  Italian.  He  sings  all  the 
Wagnerian  works,  including 'Parsifal.'    [  R.8  ] 

DIPPER,  THOMAS  (d.  1763).  See  Reg- 
ister, 1. 

'DISAPPOINTMENT,  THE.'  A  comic 
opera  of  the  ballad  type  by  Andrew  Barton, 
which  was  rehearsed  for  performance  in 
Philadelphia  in  April,  1767,  but  withdrawn 
because  some  allusions  were  considered  too 
personal.  The  text  was  immediately  pub- 
lished in  New  York  and  a  second  edition  in 
1796  (with  additions).  The  songs  required 
numbered  eighteen,  among  them  being 
'Yankee  Doodle'  —  apparently  the  first 
literary  reference  to  this  melody.  Unless 
Ralph's  'Fashionable  Lady'  (1730,  London) 
was  by  an  American,  this  is  the  first  American 
opera.  But  who  Andrew  Barton  was  is  not 
known.  By  some  the  name  is  conjectured 
to  be  a  pseudonym,  perhaps  used  by  John 
Leacock.  See  Sonneck,  'Early  American  Op- 
eras,' I.  M.  G.  Sammclbde.  6.  433-50. 

DITSON,  OLIVER  (Oct.  20,  1811,  Boston 
:  Dec.  21,  1888,  Boston).  See  article  in 
Vol.  i.  707.  Ditson's  personal  career  is  in- 
timately interwoven  with  the  famous  busi- 
ness that  he  established.  His  family,  of 
Scottish  derivation,  for  two  generations  had 
been  identified  with  eastern  Massachusetts. 
After  a  common-school  education  he  was  from 
1823  clerk  in  the  book-store  of  Samuel  H. 
Parker,  who  was  one  of  the  original  trustees 


190 


DITSON  COMPANY 


'DON  MUNIO' 


of  the  Handel  and  Haydn  Society.  In  1826 
he  set  out  to  learn  the  printer's  trade,  first 
under  Isaac  R.  Butts,  who  printed  '  The  North 
American  Review,'  and  then  with  Alfred 
Mudge,  the  founder  of  a  house  later  famous. 
He  also  became  organist  at  the  Bulfinch  Street 
Church.  In  1835  he  set  up  for  himself  as 
music-seller  and  publisher,  and  in  1836  with 
his  former  employer  formed  the  firm  of  Parker 
&  Ditson,  dealing  in  pianos  and  music,  and 
soon  located  in  what  later  was  famous  as  'The 
Old  Corner  Bookstore'  on  Washington  Street. 
In  1842  Ditson  became  sole  proprietor  of  the 
business,  which  now  rapidly  expanded,  neces- 
sitating repeated  removals  to  larger  quarters. 
In  1845  John  C.  Haynes  was  employed  as 
clerk,  soon  demonstrating  such  capacity  that 
in  1857  he  was  taken  into  partnership. 
Probably  from  before  1850  the  printing  and 
engraving  was  put  in  charge  of  John  H.  H. 
Graupner,  the  son  of  Gottlieb  Graupner  (see 
Register,  2).  In  1860  a  branch  business  was 
established  in  Cincinnati  under  John  Church 
(from  1871  known  as  the  John  Church  Com- 
pany). In  1867,  through  the  purchase  of  the 
business  of  Firth,  Son  &  Co.  in  New  York 
(see  Register,  3),  another  branch  was  there 
constituted  under  the  name  of  Chas.  H. 
Ditson  &  Co.,  its  head  being  Ditson's  eldest 
son.  In  1875  the  stock  of  Lee  &  Walker  in 
Philadelphia  was  purchased  and  the  house 
of  J.  E.  Ditson  &  Co.  established,  led  by 
another  son  (discontinued  in  1910).  In  1877 
Ditson  absorbed  the  business  of  G.  D.  Russell 
&  Co.  in  Boston.  Thus  he  steadily  gained 
a  commanding  position  in  different  parts 
of  the  country  —  the  most  conspicuous  in- 
stance in  its  class  of  a  house  organized  by 
native  American  enterprise.  Besides  pub- 
lishing a  vast  amount  of  music,  popular  and 
artistic,  in  sheet-form  and  book-form,  he  was 
in  1858-78  publisher  of  'Dwight's  Journal  of 
Music'  in  1878-1903  of  'The  Monthly  Musical 
Record'  (name  varied  later),  and  in  1903-18 
of  '  The  Musician.'  One  of  the  most  significant 
single  undertakings  has  been  the  building  up 
of  the  series  known  as  '  The  Musicians'  Library' 
(80  vols,  thus  far).  A  large  number  of  in- 
struction-books and  books  about  music  have 
also  been  put  forth.  In  1917  the  business 
removed  to  its  latest  building  at  178-9  Trem- 
ont  Street.  See  Fisher,  Music  in  Old  Boston, 
1918.     [  R.3  ] 

DITSON  COMPANY,  THE  OLIVER. 
From  1857,  when  Haynes  joined  Ditson,  the 
firm-name  was  Oliver  Ditson  &  Co.,  which, 
after  Haynes'  death  in  1907,  was  changed  to 
its  present  form,  Charles  H.  Ditson  becoming 
president.     See  preceding  article. 

'DIXIE.'  A  famous  song,  written  by 
Daniel  D.  Emmett  in  1859  for  Bryant's  '  min- 
strel '  troupe    in  New   York.     In   the   Civil 


War  it  became  the  favorite  war-song  of  the 
South. 

DOANE,  WILLIAM  HOWARD  (1832- 
1915).     See  Register,  4. 

'DOCTOR  OF  ALCANTARA,  THE.'  A 
comic  light  opera  by  Julius  Eichberg,  first 
produced  in  Boston  in  1862  and  long  popular. 
The  text  was  by  the  English  critic  B.  E.  Woolf . 

DODGE,  AVA  L.  B.  See  Colleges,  3 
(ElonC,  N.  C). 

DOENHOFF,  ALBERT  VON  (b.  1880). 
See  Register,  8. 

DOENHOFF,  HELEN  VON  (b.  1861). 
See  Register,  6. 

DOERNER,  ARMIN  W.  (b.  1851).  See 
Register,  6. 

DOHN,  ADOLPH  W.     See  Register,  4. 

DOLGE,  ALFRED  (b.  1848).  See  Reg- 
ister, 5. 

DOLL,  JACOB,  &  SONS.  A  piano-making 
firm  established  in  New  York  in  1871  by 
Jacob  Doll  (d.  1911),  which  has  developed  into 
a  large  business,  incorporated  with  a  capital 
of  $1,000,000.  All  parts  of  their  pianos  are 
made  in  their  own  factories,  and  they  have 
distinctive  featm^es  in  their  player-pianos. 

DOLMETSCH,  ARNOLD  (b.  1858).     See 

T?  ggrig'f  fjT*      Q 

DONALDA,  PAULINE  (b.  1884).  See  Reg- 
ister, 9. 

DONLEY,  WILLIAM  HENRY  (Apr.  20, 
1863,  New  Haven,  Conn.),  had  his  early 
education  at  Waterloo,  la.  Beginning  music 
there  and  in  New  York,  at  the  New  England 
Conservatory  in  Boston  he  studied  piano  with 
Maas,  organ  with  Whiting,  theory  with 
Emery,  and  later  singing  with  Tinney  of  Lon- 
don. He  made  his  debut  as  concert-organist 
at  nineteen,  and  has  held  positions  as  organist 
at  Waterloo,  la..  Cedar  Rapids,  la.,  BellevUlo, 
Ont.,  Owen  Sound,  Ont.,  and  Indianapolis, 
where  he  gave  a  series  of  over  200  recitals. 
At  present  he  is  organist  at  the  large  First 
Presbyterian  Church  in  Seattle.  He  had 
official  engagements  at  the  Pan-American 
Exposition  at  Buffalo  in  1901  and  the  Louisiana 
Purchase  Exposition  at  St.  Louis  in  1904  and 
has  given  recitals  throughout  the  United 
States.  He  has  long  specialized  on  organ- 
planning,  and  has  drawn  schemes  for  over 
300  organs.  He  was  probably  the  first  in 
America  to  give  organ-recitals  on  Wagner's 
'Ring,'  illustrated  with  lantern-slides  and 
preceded  by  a  lectiu-e  on  Norse  legends  and  the 
Nibelungen  Lied.  These  have  been  given  in 
many  cities.  He  is  now  director  of  the 
People's  Chorus  in  Seattle.     [  R.7  ] 

'DON  MUNIO,  THE  LEGEND  OF.'  A 
cantata  for  chorus  and  orchestra  by  Dudley 
Buck,  who  also  wrote  the  text.  It  was  first 
published  in  1874  and  has  been  popular  ever 
since. 


DOOLITTLE 


DRESEL 


191 


DOOLITTLE,  AMOS.  See  Tune-Books, 
1782. 

DOUGLAS,  CHARLES  WINFRED  (Feb. 
15,  1867,  Oswego,  N.  Y.),  was  educated  at  the 
Oswego  High  School  and  Syracuse  University, 
where  he  studied  music  with  Goetschius  and 
G.  A.  Parker,  receiving  his  Mus.B.  in  1891. 
He  later  studied  piano  with  Everett  Steele  in 
Denver  and  plain-chant  under  Mocquereau 
at  Solesnies.  He  was  assistant-organist  at 
St.  Paul's  Cathedral  in  Syracuse  in  1889-91 ; 
organist  at  Zion  and  St.  Timothy's  Churches 
in  New  York  in  1892-3 ;  minor  canon  and 
assistant-organist  at  St.  John's  Cathedral  in 
Denver  in  1894-97 ;  canon  preceptor  at  St. 
Paul's  Cathedral  in  Fond  du  Lac,  Wis.,  in 
1907-10 ;  and  instructor  in  plain-chant  at  the 
General  Theological  Seminary  in  New  York 
in  1914-16.  Since  1907  he  has  been  director 
of  music  for  the  Sisterhood  of  St.  Mary.  He 
has  composed  'Missa  de  Angelis,'  'Asperges 
me,' '  Cantica  Eucharistica,' '  Compline,' '  Missa 
Marialis,'  'Missa  Penitentialis,'  'Missa  Pas- 
chalis,'  the  Canticles  at  Even-song,  the  St. 
Dunstan  Psalter  and  Kyrial,  and  a  Mass  in  G 
for  women's  voices  and  small  orchestra.  He 
has  written  and  lectured  on  musical  topics, 
conducted  summer-schools  of  church-music, 
and  adapted  English  texts  to  Russian  church- 
music.  He  is  author  of  Plain-song,  1909,  Some 
Recent  Contributions  to  the  Philosophy  of  Music, 
1911,  and  The  History  and  Work  of  the  Schola 
Cantorum,  1913.  He  assisted  in  editing  the 
Hymnal  (P.  E.),  1919.     [  R.7  ] 

DOUGLASS,  DAVID  (d.  1786).  See  Reg- 
ister, 1. 

DOUGLASS,  IDA.  See  State  Universi- 
ties (Ariz.). 

DOUILLET,  PIERRE  (b.  1861).  See  Reg- 
ister, 7. 

DOUTY,  NICHOLAS  (Apr.  14,  1870, 
Philadelphia),  was  taught  piano  and  singing 
by  his  mother,  and  sang  in  various  choirs 
as  both  soprano  and  alto.  He  studied  organ 
with  Pyne,  harmony  and  counterpoint  under 
Cresson,  and  was  assistant-organist  at  St. 
Mark's  and  St.  James'  when  only  seventeen. 
Later  he  studied  singing  with  Castle,  Aline 
Osgood  Dexter,  Randegger  and  Sbriglia. 
He  has  appeared  as  tenor  with  almost  every 
large  choral  body  in  the  East  and  Middle 
West.  On  important  occasions  his  reliable 
musicianship  has  made  him  indispensable,  and 
as  a  Bach  interpreter  he  has  won  the  highest 
praise.  He  has  been  soloist  at  all  the  festivals 
of  the  Bach  Choir  at  Bethlehem,  Pa.  He  has 
composed  organ-pieces,  piano-pieces,  part- 
songs  and  songs  (Schirmer,  Ditson  and  Pres- 
ser).  He  has  contributed  articles  to  'The 
New  Musical  Review,'  'The  Etude'  and 
'The  Musician,'  and  translated  many  songs 
from    French,    Italian    and    German.      He    is 


president  of  the  Manuscript  Music  Society  of 
Philadelphia,  the  Pegasus  Club,  and  a  vice- 
president  of  the  Musical  Art  Club.     [  R.7  ] 

DOUVILLIER,  M.  and  Mme.  See  Regis- 
ter, 2. 

DOW,  MARTHA  CORA.     See  Register,  10. 

DOWNES,  EDWIN  OLIN  (Jan.  27,  1886, 
Evanston,  III.),  was  a  pupil  of  Kelterborn  in 
piano,  music-history  and  analysis,  of  Baer- 
mann  in  piano,  of  Norris  and  HeUman  in 
harmony,  and  of  Marshall  in  harmony.  He 
has  been  music-critic  for  the  Boston  'Post' 
since  1907.  He  is  author  of  The  Lure  of 
Music,  1918,  a  crisp  and  acute  summary  of 
biography,  criticism  and  analysis  of  well- 
known  compositions,  adapted  to  illustrations 
by  graphophone  records.  He  has  edited  The 
Songs  of  Russia  (Carl  Fischer),  a  collection 
of  sixty  songs,  with  Russian  text  and  trans- 
lations by  George  Harris,  Jr.,  and  others.  He 
has  lectured  on  the  opera  in  courses  at  Boston 
University  and  the  Lowell  Institute,  and 
wrote  the  program-notes  for  the  premieres 
of  'The  Pipe  of  Desire'  and  'The  Sacrifice' 
at  Boston  and  New  York.  In  1913-14  he 
taught  theory  and  appreciation  at  Chautauqua. 
[  R.9  ] 

DRAKE,  EARL  R.  (1865-1916).  See 
Register,  8. 

DRAKE.  FREDERICK.  See  Colleges, 
3  (Kingfisher  C,  Okla.). 

DRANGOSCH,  ERNESTO  (b.  1882). 
See  Register,  9. 

DRESEL,  OTTO  (1826,  Andernach,  Ger- 
many :  July  26,  1890,  Beverly,  Mass.),  hav- 
ing been  a  pupil  of  Hiller  at  Cologne  and  of 
Mendelssohn  at  Leipzig,  came  to  New  York  in 
1848,  where  in  1851  he  gave  chamber-concerts 
with  Eisfeld,  and  from  1852  lived  in  Boston. 
Until  1868,  when  he  withdrew  from  concert- 
work,  he  was  the  leading  pianist  there,  and  until 
his  death  exercised  a  strong  influence,  partly 
through  articles  in  'Dwight's  Journal.'  He 
was  a  close  friend  of  Franz,  and  made  a  piano- 
score  of  the  latter's  reorchestration  of  'The 
Messiah.'  He  also  prepared  an  edition  of 
'The  Well-Tempered  Clavichord.'  An  ex- 
ceptionally severe  critic  of  his  own  work,  ho 
is  represented  by  only  a  few  piano-pieces  and 
songs,  but  these  have  been  highly  praised. 
Still  in  manuscript,  though  sometimes  per- 
formed, are  'In  Memoriam,*  a  ballad  for 
soprano  and  orchestra,  the  words  from  Long- 
fellow's tribute  to  Agassiz  (1857)  ;  an  'Army 
Hymn'  for  soli,  chorus  and  orchestra  (1863), 
the  words  by  Holmes ;  a  piano-trio,  and  a 
quartet  for  piano  and  strings.  In  his  Mu- 
sicians and  Music-Lovers  Apthorp,  speaking 
of  Franz  and  Dresel,  said,  'In  both  of  these 
men  was  found  in  the  highest  perfection  what 
I  might  call,  for  lack  of  a  better  name,  the 
sense  of  musical  beauty,  the  keenest  sense  for 


192 


DRESSLER 


DUNKLEY 


beauty  of  expression,  beauty  of  form,  pro- 
portion and  color.  They  were  staunch,  Hfe- 
long  friends;  their  agreement  on  musical 
subjects  was  as  complete  as  their  friendship ; 
they  both  worked  together  toward  the  same 
end ;  though  they  lived  long  apart,  neither 
gave  anything  to  the  world  without  the  ordeal 
of  its  passing  through  the  other's  criticism ; 
they  died  within  two  years  of  each  other.  It 
is  well  to  speak  of  them  together.'     [  R.4  ] 

DRESSLER,  LOUIS  RAPHAEL  (b.  1861). 
See  Register,  6. 

DREXEL  LIBRARY,  THE,  was  a  col- 
lection of  books,  manuscripts,  etc.  (6000 
items),  formed  by  Joseph  W.  Drexel  of  Phila- 
delphia from  1858  and  bequeathed  by  him  to 
the  Lenox  Library  in  New  York  in  1888.  It 
now  forms  part  of  the  music-division  of  the 
New  York  Public  Library.  See  note  in  Vol. 
ii.  718,  and  article  by  Edward  Silsky  in  the 
M.  T.N.  A.  Proceedings,  1914,  p.  211. 

DUBOIS.     See  Register,  2. 

%  DUBOIS,  FRANCOIS  CLEMENT  THE- 
ODORE (Aug.  24,  1837,  Rosnay,  France).  See 
article  in  Vol.  i.  734-5,  and  add  that  he  retired 
from  the  directorship  of  the  Conservatoire  in 
1905. 

DUBOIS,  WILLIAM.     See  Register,  3. 

DUFAU,  JENNY.     See  Register,  10. 

DUFFIELD,  ELSIE.  See  Colleges,  3 
(Olivet  C,  Mich.). 

DUFRANNE,  HECTOR.     See  Register,  9. 

tDUKAS,  PAUL  (Oct.  1,  1865,  Paris). 
See  article  in  Vol.  i.  738.  He  was  made 
Chevalier  of  the  Legion  d'Honneur  in  1906, 
and  since  1909  has  been  professor  of  the 
orchestral  class  and  member  of  the  Conseil 
de  I'Enseignement  Superieur  and  at  the 
Conservatory.  Additional  works  are  the 
three-act  opera  'Ariane  et  Barbe-Bleu,'  text 
by  Maeterlinck  (1907,  Paris,  Opera-Comique, 
1911,  New  York,  Metropolitan  Opera  House) ; 
the  ballet  'La  Peri'  (1910);  'Villanelle'  for 
horn  and  piano  (1906)  ;  a  piano-sonata  in 
E-flat  minor;  'Variations,  Interlude  and 
Finale'  on  a  theme  by  Rameau,  and  'Prelude 
Elegiaque,'  both  for  piano. 

DULCKEN,  FERDINAND  QUENTIN 
(1837-1902).     See  Register,  6. 

DUNHAM,  HENRY  MORTON  (July  27, 
1853,  Brockton,  Mass.),  having  studied  with 
Whiting,  Petersilea  and  Paine,  graduated  from 
the  New  England  Conservatory  in  1873,  and 
from  Boston  University  College  of  Music  in 
1876.  After  some  European  experiences  he 
returned  to  the  Conservatory  in  1878  as 
teacher  of  organ,  a  position  he  still  holds.  For 
a  time  he  also  taught  in  Boston  University. 
He  is  also  music-director  of  Lasell  Seminary 
in  Auburndale.  He  has  been  organist  of  the 
Porter  (Congregational)  Church  in  Brockton 
in   1873-83,   of  the  Ruggles  Street  (Baptist) 


Church  in  Boston  in  1883-96,  of  the  Shawmut 
(Congregational)  Church  in  1896-1906,  and  of 
the  Harvard  (Congregational)  Church  in 
Brookline  in  1906-11.  As  a  concert-organist 
he  has  given  many  recitals,  including  an 
annual  series  at  Music  Hall  in  Boston  and 
at  the  St.  Louis  Exposition  in  1904.  His 
'Cortege'  for  organ  and  orchestra,  and  a 
'Meditation'  for  strings,  harp,  organ  and 
orchestra,  have  been  played  at  Boston  Sym- 
phony Orchestra  popular  concerts.  He  has 
also  composed  a  concerto  for  organ  and 
orchestra;  a  'Phantasy'  for  harp,  two  violins, 
organ  and  orchestra ;  the  symphonic  poem 
'  Aurora '  for  full  orchestra  and  organ  ;  a  '  Duo 
Concertante'  for  'cello  and  piano;  sonatas, 
fugues  and  smaller  pieces  for  organ ;  and 
choir-music.  He  has  published  a  book  of 
piano-studies.  Legato  Fingering  and  Phrasing, 
and,  for  organ.  Manual  and  Pedal  Technique,  an 
Organ  School  (four  parts),  editions  of  Bach's 
smaller  organ-works,  modern  French  organ- 
compositions,  etc.     [  R.6  ] 

DUNHAM,  J.  B.  (1799-1873).  See  Reg- 
ister, 3. 

%  DUNHILL,  THOMAS  FREDERICK 
(Feb.  1,  1877,  Hampstead,  London).  See  art- 
icle in  Vol.  V.  634.  His  professorship  at 
the  Royal  College  of  Music  dates  from  1905. 
He  has  made  a  specialty  of  chamber-music, 
both  in  his  own  composition,  in  promoting 
series  of  concerts,  and  by  his  Chamber-Music, 
a  Treatise  for  Students,  1913.  His  own  works 
in  this  genre  now  include  Variations  in  F, 
for  flute  and  piano ;  a  quintet  in  E-flat,  for 
piano,  clarinet,  horn,  violin  and  'cello ;  a 
quintet  for  strings  and  horn ;  a  piano-quartet 
in  B  minor  (Leslie  Alexander  prize) ;  a  piano- 
quintet  in  C  minor ;  a  sonata  for  violin  and 
piano;  two  'Phantasie'  trios,  one  for  piano, 
violin  and  'cello,  the  other  for  piano,  violin 
and  viola ;  Variations  for  'cello  and  piano ; 
pieces  for  violin  and  piano ;  besides  the  song- 
cycle  'Songs  of  the  River.'  He  has  toured 
Australia,  New  Zealand  and  Canada  as 
Examiner  for  the  Associated  Board,  and  has 
given  many  lectures  on  behalf  of  chamber- 
music. 

DUNKLEY,  FERDINAND  LUIS  (July 
16,  1869,  London),  received  his  musical  edu- 
cation from  G.  A.  Higgs,  the  Royal  College 
of  Music  and  Trinity  College  of  Music  in 
London.  He  studied  composition  with  Parry 
and  organ  with  Martin.  In  1893  he  came  to 
Albany,  N.  Y.,  as  music-director  at  St.  Agnes' 
School.  Removing  to  Asheville,  N.  C,  in 
1899,  he  became  director  at  Asheville  College 
and  conductor  of  the  annual  festivals.  The 
years  1901-09  were  spent  in  New  Orleans 
as  organist  of  St.  Paul's  and  Touro  Synagogue, 
and  conductor  of  vocal  and  orchestral  societies. 
Then    followed    three    years    as    organist    at 


DUNN 


DWIGHT 


193 


Christ  Church  in  Vancouver,  B.  C.  From 
1912  he  was  in  Seattle  as  organist  at  St. 
Mark's,  at  the  First  Methodist  Church,  and 
(from  1916)  at  the  First  Church  of  Christ, 
Scientist.  He  was  director  of  the  Chehalis 
Choral  Society,  and  the  St.  Cecilia  Club  of 
Tacoma,  and  leader  of  community-singing.  He 
was  also  vocal  instructor  at  the  Annie  Wright 
Seminary  in  Tacoma,  and  on  the  faculty  of  the 
Stapp  School  of  Music  in  Seattle.  In  the  fall 
of  1920  he  removed  to  Birmingham,  Ala.,  to  be 
organist  at  the  Church  of  the  Advent.  He  is  a 
fellow  of  the  R.  C.  O.  and  the  A.  G.  O.,  and 
gave  recitals  at  the  Buffalo  and  St.  Louis  Ex- 
positions in  1901  and  1904.  His  compositions 
include  the  ballad  for  chorus  and  orchestra 
'The  Wreck  of  the  Hesperus'  (1894,  Novello) ; 
'The  Elected  Knight,'  ballad  for  men's  chorus 
and  piano  (Church  Co.) ;  a  Sabbath  Eve  Service 
for  Jewish  Worship,  including  'Adon  Olom' 
(Bloch  Pub.  Co.,  orchestration  in  ms.)  ;  and 
songs,  piano-pieces  and  anthems.  Among 
his  works  in  manuscript  are  the  orchestral 
suite  'Among  Yon  Mountain-Fastnesses' 
(prize  at  the  London  Promenade  Concerts 
in  1889),  a  sonata  for  'cello  and  piano,  a 
Sabbath  Morning  Service  for  Jewish  Worship, 
and  several  settings  of  Fiona  Macleod  poems 
for  solo  or  chorus.     [  R.8  ] 

DUNN,  JAMES  PHILIP  (Jan.  10,  1884, 
New  York),  graduated  from  the  College  of 
the  City  of  New  York  in  1903,  not  having  given 
special  attention  to  music.  He  then  studied 
with  MacDowell,  McWhood  and  Rybner  at 
Columbia  University,  specializing  in  theory 
and  composition.  He  has  been  organist  at  Holy 
Innocents'  in  New  York,  and  St.  Patrick's  in 
Jersey  City.  He  has  composed  a  piano-quin- 
tet in  G  minor  (1910,  N.  Y.  Manuscript  So- 
ciety) ;  a  sonata  in  G  minor  for  violin  and 
piano  (1912)  ;  a  piano-trio  inB-flat(1913) ;  the 
tone-poem  'Annabel  Lee,'  for  voice  and  or- 
chestra (1913,  People's  Symphony  Orchestra, 
New  York)  ;  two  string-quartets,  many  songs, 
piano-  and  organ-pieces.  Two  'Lyric  Scenes' 
are  based  on  the  stage-episodes  '  The  Fountain,' 
by  Charles  McMillan,  and  'A  Kiss  in  the  Dark,' 
after  Maurice  Lavelle.     [  R.9  ] 

DURST,  SIDNEY  C.  (b.  1870).  See  Reg- 
ister, 9. 

DUTTON,  DEODATUS,  Jk.  See  Tune- 
Books,  1829. 

DVOkAk,  ANTONIN  (Sept.  8,  1841, 
Miihlhausen  [Nelahozeves],  Bohemia  :  May 
1,  1904,  Prague).  See  article  in  Vol.  i.  755-9. 
His  work  as  artistic  director  and  teacher  of 
composition  at  the  National  Conservatory  in 
New  York  in  1892-95  exercised  considerable 
influence  on  certain  features  of  American 
music.  Among  his  pupils  were  Rubin  Gold- 
mark,  W.  A.  Fisher,  H.  R.  SheUey,  H.  W. 
Loomis  and  Henry  Schoenefeld.  His  'New 
O 


World'  Symphony,  op.  95,  his  string-quartet  in 
F,  op.  96,  and  his  string-quintet  in  E-flat,  op. 
97,  all  have  to  do  with  his  American  sojourn. 
Regarding  the  use  of  native  thematic  material, 
his  statement  in  'The  Century  Magazine'  for 
February,  1895,  may  be  quoted_ : 

'A  while  ago  1  suggested  that  inspiration  for  truly 
national  music  might  be  derived  from  the  Negro 
melodies  or  Indian  chants.  I  was  led  to  take  the 
view  partly  by  the  fact  that  the  so-called  plantation- 
songs  are  indeed  the  most  striking  and  appealing 
melodies  that  have  been  found  on  this  side  of  the 
water,  but  largely  by  observation  that  this  seema 
to  be  recognized,  though  oft'en  unconsciously,  by 
most  Americans.  All  races  have  their  distinctive 
national  songs  which  they  at  once  recognize  as  their 
own,  even  if  they  have  never  heard  them  before.  It 
is  a  proper  question  to  ask,  What  songs,  then,  belong 
to  the  American  and  appeal  more  strikingly  to  him 
than  any  others?  What  melody  will  stop  him  on 
the  street,  if  he  were  in  a  strange  land,  and  make  the 
home-feeling  well  up  within  him,  no  matter  how 
hardened  he  might  be,  or  how  wretchedly  the  tunes 
were  played?  Their  number,  to  be  sure,  seems  to 
be  limited.  The  most  potent,  as  well  as  the  most 
beautiful  among  them,  according  to  my  estimation, 
are  certain  of  the  so-called  plantation-melodies  and 
slave-songs,  all  of  which  are  distinguished  by  unusual 
and  subtle  harmonies,  the  thing  which  I  have  found 
in  no  other  songs  but  thos«  of  Scotland  and  Ireland.' 

To  the  list  of  compositions  may  be  added  op. 
112,  unpublished;  op.  113,  a  'Festgesang' 
for  chorus  with  piano  four-hands ;  a  '  Waldes- 
ruhe'  for  'cello  and  orchestra;  two  sym- 
phonies, in  E-flat  and  D  minor;  a  'Tragic 
Overture';  a  'Rhapsodie'  in  A  minor;  and 
a  Berceuse  and  Capriccio  for  piano.     [  R.8  ] 

DVORSKY,  ANN.  See  Colleges,  3  (Car- 
thage C,  111.). 

DWIGHT,  JOHN  SULLIVAN  (May  13, 
1813,  Boston  :  Sept.  5,  1893,  Boston). 
See  article  in  Vol.  i.  759,  and  note  in  iii.  688. 
He  was  the  first  strong  American  music-critic 
and  his  'Jom-nal'  was  a  powerful  force,  though 
decidedly  conservative.  Among  the  contrib- 
utors were  A.  W.  Thayer,  Otto  Dresel  and 
W.  S.  B.  Mathews.  As  the  latter  said  in  his 
Famous  Composers,  New  Series, 

'  '  Dwight's  Journal '  was  meant  as  the  organ  of 
the  new  movements  in  music,  and  during  its  earlier 
years  was  almost  exclusively  devoted  to  promoting 
the  claims  of  the  music  of  Schubert,  Schumann, 
Chopin  and  Mendelssohn,  and  it  looked  somewhat 
coldly  upon  the  extreme  advances  of  Berlioz,  Wagner 
and  Liszt.  .  .  .  The  great  value  of  the  'Journal' 
lay  in  its  sympathy  with  the  modern  romantic 
movement  in  music,  and  in  translating  fragments 
from  the  European  writings  of  Wagner  and  the 
other  new-comers.  ...  It  was  a  source  of  both 
light  and  heat.  .  .  .  The  Harvard  Musical  Associa- 
tion, which  began  as  a  society  of  amateur  lovers  of 
good  music,  and  later  carried  on  chamber-concerts 
and  finally  symphony-concerts  in  Boston,  and 
secured  the  appointment  of  a  professor  of  music  in 
Harvard,  was  largely  Mr.  Dwight's  work ;  and  the 
existing  Boston  Symphony  Orchestra  is  a  living 
monument  to  the  value  of  the  ideals  ha  helped  to 
bring  into  prominence.'  [  R.4  1 


194 


DWIGHT'S  JOURNAL' 


DYKEMA 


'DWIGHT'S  JOURNAL  OF  MUSIC 
See  note  in  Vol.  iii.  688,  and  article  on 
Dwight  in  Vol.  i.  759.  Its  founding  was  pro- 
moted by  the  Harvard  Musical  Association. 
In  1858-78  it  was  published  by  Oliver  Ditson 
&  Co.,  and  in  1879-81  by  Houghton,  Mifflin 
&Co. 

DWORZAK,  ZDENKO  VON  (b.  1875).  See 
Register,  10. 

DYER,  SAMUEL  (1785-1835).  See  Tune- 
Books,  1817. 

DYER,  SUSAN  H.  See  Colleges,  3  (Rol- 
lins C,  Fla.). 

DYHRENFURTH,  JULIUS.  See  Register, 
3. 

DYKEMA,  PETER  WILLIAM  (Nov.  25, 
1873,  Grand  Rapids,  Mich.),  has  been  directing 
vocal  and  instrumental  music  since  boyhood. 
After  gaining  his  master's  degree  at  the 
University  of  Michigan  in  1896  he  was  urged 
a/t  once  to  begin  college  teaching.  Instead, 
he  chose  to  become  a  high-school  teacher  of 
English  and  German  in  Aurora,  111.  After 
two  years,  for  further  experience,  he  moved 
down  to  be  principal  of  a  graded  school  in 
Indianapolis.  Three  years  later,  in  the 
Ethical  Culture  School  in  New  York,  he 
sought  to  deal  with  still  younger  children,  as 
well   as   students   beginning    college    studies. 


Thus  he  prepared  for  university  work  by 
knowing  thoroughly  the  preparatory  stages 
below.  Meanwhile  he  had  kept  up  musical 
studies,  first  with  Stanley  at  Ann  Arbor,  later 
with  Kelley  and  Cooper  in  Berlin  and  M'ith 
Goetschius  in  New  York.  That  every  one 
could  and  should  sing  —  the  germ  of  the 
community-singing  movement  —  he  had  al- 
ways believed.  This  he  applied  from  about 
1901  with  audiences  at  lectures  under  Dr. 
Leipziger,  of  the  New  York  Board  of  Edu- 
cation. In  1913  he  went  to  the  University 
of  Wisconsin,  dividing  his  time  between  the 
School  of  Music  and  University  Extension. 
The  latter  work  was  naturally  called  'com- 
munity-music '  —  perhaps  the  first  use  of  the 
term  for  certain  social  applications  of  music. 
The  primary  aim  was  to  get  the  people  of 
Wisconsin  to  sing.  But  he  also  tried  having 
children  do  song-composition  in  regular  school 
work  and  enlisted  them  in  performing  choral 
works.  He  headed  the  committee  that  pre- 
pared the  Fifty-five  Songs  and  Choruses  for 
Community-Singing  (Birchard),  and  is  iden- 
tified with  other  similar  publications.  As 
a  specialist  on  music  for  home,  school  and 
community  he  has  written  much  for  various 
journals.  He  is  now  publishing  a  work  on 
Community-Music.     [  R.8  1 


E 


EAMES,  EMMA  HAYDEN  (Aug.  13, 
1865,  Shanghai,  China).  See  article  in  Vol.  i. 
761.  Her  father  had  been  a  sea-captain  in 
the  East  India  trade,  but  took  up  law  and 
practiced  in  Shanghai.  Her  first  serious 
music-study  in  1882  was  with  Miss  Munger 
of  Boston,  with  encouragement  from  Paine 
and  Perabo.  She  soon  became  a  church-  and 
concert-singer.  Her  d6but  in  'Rom6o  et 
Juliette'  in  1889  was  in  immediate  succession 
to  Patti,  who  opened  the  season.  She  at  once 
became  a  favorite  in  Paris  and  London.  Late 
in  1891  she  made  her  American  d^but  at  the 
Metropolitan  Opera  House  as  Juliette,  scoring 
a  brilliant  success,  particularly  as  she  was 
then  and  later  associated  with  the  De  Reszk6 
brothers.  In  1892  she  sang  for  a  time  at 
Madrid,  but  in  later  years  limited  herself 
almost  exclusively  to  London  and  America. 
In  England  she  was  shown  notable  favor  by 
Queen  Victoria,  at  whose  Jubilee  she  sang  in 
1897.  Her  repertoire  included  25-30  roles 
and  the  impressiveness  of  her  combined 
qualities  of  voice,  artistic  instinct,  beauty  and 
skill  in  acting  continued  till  her  final  year  on 
the  stage  in  1908-09.  Having  been  divorced 
from  her  first  husband  in  1907,  in  1911  she  was 
married  a  second  time  to  the  baritone  Gogorza 
in  Paris.  In  1911-12  they  made  a  joint 
concert-tour.  Since  1914  she  has  lived  in 
retirement  in  Bath,  Me.,  but  in  1916  sang  in 
Portland  for  charity.      [  R.7  ] 

EAMES,  HENRY  PURMORT  (Sept.  12, 
1872,  Chicago,  111.),  spent  three  years  at 
Cornell  College  in  Iowa,  and  graduated  from 
the  law-school  of  Northwestern  University. 
He  studied  piano,  harmony  and  theory  with 
Mathews,  piano  with  Sherwood,  Mme.  Schu- 
mann, Kwast  and  (1908-09)  Paderewski. 
He  toiu'ed  in  America  with  Remdnyi  in  1894- 
95,  has  appeared  often  as  pianist  in  recitals 
and  with  orchestras,  and  concertized  in  France 
and  Great  Britain  in  1908-11.  In  1898-1908 
he  taught  piano  and  lectured  on  theory  at 
the  University  School  in  Lincoln,  Neb.  In 
1911  he  founded  the  Omaha  School  of  Music, 
and  in  1912  moved  to  Chicago,  where  he  is 
head  of  the  piano,  orchestral  and  ensemble 
departments  in  the  Cosmopolitan  School  of 
Music.  In  1913-19  he  was  also  music-director 
at  the  Illinois  Wesleyan  University  at  Bloom- 
ington,  besides  work  at  Lake  Forest  College. 
In  1906  Cornell  College  made  him  Mus.D. 
He  was  president  of  the  Society  of  American 
Musicians  in  1916-17.  His  unpublished  works 
are  'The  Sacred  Tree  of  the  Omahas,'  a 
pageant-play  by  H.  B.  Alexander,  for  orchestra, 
soli  and  chorus,  and  a  suite  for  orchestra. 
Incidental  music  to  several  short  plays  has 


been  issued  by  Birchard  &  Co. ;  and  also  songs 
and  short  piano-works.  He  has  written  upon 
folk-music  and  the  relations  of  the  arts.    [  R.8  ] 

EARHART,  WILL  (Apr.  1,  1871,  Franklin, 
O.),  gained  his  reputation  as  director  of  school- 
and  community-music  largely  from  work  in 
Richmond,  Ind.,  in  1900-12,  though  he  had 
previously  been  supervisor  in  Ohio.  In  1912 
he  came  to  Pittsburgh  as  director  of  music  in 
the  public  schools,  carrying  out  his  progressive 
ideas  on  a  larger  scale.  Since  1913  he  has 
been  music-director  in  the  School  of  Edu- 
cation of  the  University  of  Pittsburgh.  He 
stresses  not  only  vocal  music  in  school-courses, 
but  also  instrumental  music,  ensemble-playing, 
theory  and  music-appreciation,  often  including 
extensive  studies  of  many  styles  and  periods. 
In  theory  he  emphasizes  ear-training,  analysis 
and  proficiency  in  the  use  of  materials.  Hia 
development  of  ensemble-playing  has  called 
forth  much  popular  interest,  besides  its  di- 
rect benefit  for  the  pupils.  He  has  strongly 
advocated  school-credit  for  music-study  done 
outside  high  schools,  and  his  plans  have 
been  widely  copied.  He  has  written  Music 
in  the  Public  Schools,  1914  (Bureau  of  Educa- 
tion, Bulletin  No.  33),  and  (with  Osbourne 
McConathy)  Music  in  Secondary  Schools, 
1917  (Bureau  of  Education,  Bulletin  No.  49). 
He  has  edited  Art-Songs  for  High  Schools, 
1910,  and  (with  C.  H.  Congdon)  The  Congdon 
Music-Primer  No.  1,  The  Congdon  Music-Reader 
No.  4,  and  (with  others)  The  School-Credit 
Piano-Course,  1918,  besides  many  articles.  He 
is  active  in  the  National  Educational  As- 
sociation, the  Music  Supervisors'  National 
Conference  (president,  1915-16)  and  other 
societies.  In  1920  he  was  made  Mus.D.  by  the 
University  of  Pittsburgh.     [  R.8  ] 

EASTERN  MUSIC  SUPERVISORS' CON- 
FERENCE, THE,  was  started  in  1918  as  a 
branch  of  the  national  organization,  intended 
mainly  for  New  England  and  the  Middle 
States.  Its  first  meeting  was  held  in  Boston, 
the  second  in  Hartford  and  the  third  in  New 
York.  The  president  for  1919-20  was  Howard 
C.  Davis  of  Yonkers,  N.  Y. 

EASTMAN,  GEORGE  (July  12,  1854, 
Waterville,  N.  Y.),  from  about  1880  the 
founder  and  energetic  promoter  of  the  ex- 
tensive photographic  manufacturing  business 
in  Rochester,  in  1919  announced  the  gift  of 
$3,500,000  for  the  establishment  of  the  East- 
man School  of  Music  in  that  city,  to  be 
administered  under  the  care  of  the  University 
of  Rochester.  In  1920  he  made  a  further  gilt 
of  $1,000,000.  The  permanent  endowment- 
fund  will  be  over  $3,000,000.  In  addition 
to  ail  the  usual  forms  of  instruction  in  a  music- 


195 


196 


EATON 


EISFELD 


school  of  the  highest  class,  it  is  proposed  to 
give  special  attention  to  the  combination  of 
music  with  motion-picture  appliances  as  a 
means  of  popular  education.  Details  of  the 
organization  of  the  institution  have  not  yet 
(1920)  been  announced. 

EATON,  LEWIS  HORTON  (b.  1861). 
See  Colleges,  3  (Leland  Stanford  U.,  Cal.). 

EBANN,  WILLIAM  BENEDICT  (b. 
1873).    See  Register,  8. 

EBERHARD,  ERNST  (1839-1910).  See 
Register,  4. 

EBERSOLE,  AMOS  S.  See  Colleges,  3 
(Goshen  C,  Ind.). 

ECKHARD,  J.    See  Tune-Books,  1816. 

EDDY,  HIRAM  CLARENCE  (June  23, 
1851,  Greenfield,  Mass.).  See  article  in  Vol. 
i.  768.  He  remained  as  organist  at  the  First 
Presbyterian  Church  in  Chicago  untU  1896. 
His  repertoire  as  recitalist  includes  practically 
the  whole  literature  for  the  instrument.  He 
has  given  over  400  recitals  in  Chicago  alone, 
has  played  at  most  of  the  great  Expositions 
—  Philadelphia  in  1876,  Paris  in  1879,  Chicago 
in  1893  (21  recitals).  Buffalo  in  1901,  St. 
Louis  in  1904,  Jamestown  in  1907  and  San 
Francisco  in  1915  (40  recitals)  —  and  has 
probably  'opened'  more  organs  than  any 
other  organist.  He  has  edited  The  Church  and 
Concert  Organist,  3  vols.,  1882-  ,  The  Organ 
in  Church,  1887,  Concert-Pieces  for  the  Organ, 
Standard  Compositions  for  the  Organ,  2  vols., 
and  an  Organ-Method,  2  vols.  He  was  a 
founder  of  the  A.  G.  O.  and  is  an  honorary 
member  of  the  Accademia  S.  Cecilia  in  Rome. 
[  R.6  ] 

EDDY,  SARA,  nSe  Hershey  (b.  1852).  See 
Register,  6. 

EDSON,  LEWIS  (1748-1820).  See  Tune- 
BooKs,  1801. 

EDVINA,  MARIE  LOUISE  LUCIENNE, 
nee  Martin.     See  Register,  9. 

EDWARDS,  JOHN  HARRINGTON 
(1834-1918).     See  Register,  9. 

EDWARDS,  JULIAN  (1855-1910).  See 
Register,  7. 

'EDWIN  AND  ANGELINA.'  A  ballad 
opera,  the  text  by  Elihu  H.  Smith,  M.D. 
(1771-1798),  compiled  from  Goldsmith  and 
developed  into  a  play  in  1791-93,  and  the 
music  by  Victor  Pelissier,  a  horn-player  in 
the  Old  American  Company.  It  was  produced 
in  New  York  on  Dec.  19,  1796.  In  composition 
it  antedates  'The  Archers'  of  Carr,  but  the 
latter  was  performed  some  months  earlier. 
See  Sonneck,  'Early  American  Operas,' 
/.  M.  G.  Sammelbde.  6.  474-7. 

EGBERT,  WILLIAM  GRANT  (b.  1869). 
See  Register,  7. 

EGG,  ARTHUR  HENRY  (May  6,  1891, 
Montreal),  beginning  as  choir-boy  in  Montreal, 
studied  organ,  piano  and  theory  for  five  years   I 


with  Illsley.  At  eighteen  he  was  organist 
for  a  year  at  the  church  of  St.  John  the  Evan- 
gelist, and  then,  on  the  Strathcona  scholarship, 
went  to  London  for  three  years  at  the  Royal 
College  of  Music.  Here  he  studied  organ  with 
Parratt  and  Alcock,  harmony  and  counter- 
point with  J.  F.  Bridge  and  Charles  Wood. 
He  was  also  organist  at  Emmanuel  Church 
in  West  Hampstead.  In  1913  he  became  a 
fellow  of  the  R.  C.  O.,  and  returned  to  Mon- 
treal to  succeed  W.  Lynnwood  Farnam  as 
organist  at  Christ  Church  Cathedral,  where 
he  still  is.  He  has  much  extended  the 
repertoire  and  given  special  attention  to  annual 
Lenten  recitals  of  choir-  and  organ-music, 
the  programs  ranging  from  Bach  to  modern 
compo.sers.  He  teaches  organ  and  theory 
at  the  McGill  University  Conservatorium 
and  is  lecturer  and  administrator  of  the 
Knowlton  Church  Choir  Assembly,  which 
has  held  five  annual  conferences.     [  R.9  ] 

EICHBERG,  JULIUS  (June  13,  1824,  Diis- 
seldorf,  Germany  :  Jan.  18,  1893,  Bos- 
ton). See  article  in  Vol.  i.  770.  Among  his 
teachers  were  also  Eichler  at  Mayence,  Fro- 
lich  at  Wilrzburg,  Meerts  and  de  Beriot  at 
Brussels.  Rietz  introduced  him  to  Mendels- 
sohn, who  gave  him  strong  commendation. 
At  Boston  he  was  for  a  time  music-supervisor 
in  the  public  schools.  Besides  his  operettas 
he  wrote  some  chamber-music,  many  studies 
and  pieces  for  the  violin,  songs  and  the  patri- 
otic chorus  'To  thee,  O  Country,  great  and 
free.'  His  four  operettas  were  all  produced 
in  Boston— in  1862,  '65,  '70,  and  '74  (?). 
'  The  Doctor  of  Alcantara '  was  long  a  favor- 
ite,    t  R.4  ] 

EISFELD,  THEODOR  (Apr.  11,  1816, 
Wolfenbiittel,  Germany  :  Sept.  2,  1882, 
Wiesbaden,  Germany),  having  studied  violin 
with  Karl  Miiller  at  Brunswick  and  composi- 
tion with  Reissiger  at  Dresden,  in  1839-43 
was  director  of  the  court-theater  at  Wiesbaden 
and  then  of  the  Concerts  Viviennes  at  Paris. 
In  1848  he  came  to  New  York,  where  he  exerted 
a  strong  artistic  influence.  In  1849-64  he 
was  conductor  of  the  Philharmonic  Society 
(alternating  more  or  less  with  Bergmann) 
and  from  1850  of  the  new  Harmonic  Society. 
In  1851  he  started  a  notable  series  of  chamber- 
concerts,  the  first  program  containing  Haydn's 
Quartet  in  B-flat,  Mendelssohn's  Trio  in  D 
minor  (Dresel  as  pianist)  and  Beethoven's 
Quartet  in  F.  In  1857  he  was  the  first  con- 
ductor of  the  Brooklyn  Philharmonic  Society, 
and  in  1864-66  alternated  with  Thomas 
there.  In  1866  he  retired  to  Wiesbaden. 
In  these  later  years  he  suffered  much  from 
the  effects  of  having  been  one  of  the  few 
survivors  at  the  burning  of  the  'Austria'  in 
mid-ocean  in  1858.  As  a  youth  he  had 
singing-lessons   with   Rossini,    and   was   later 


BLGAR 


ELSON 


197 


an  honorary  member  of  the  Accademia  S. 
Cecilia  in  Rome.     [  R.4  ] 

tELGAR,  EDWARD  (June  2  1857, 
Broadheath,  England).  See  articles  in  Vols. 
i.  772-4,  and  v.  635.  Yale  University  gave 
him  the  degree  of  Mus.D.  in  1905.  The  list  of 
works  should  be  extended  as  follows  : 

op.    52    Part-Songs,    'A   Christmas   Greeting,'    for 
mixed  voices. 
53    Four  Part-Songs. 

64  Part-Song,  'Reveille,'  for  men's  voices. 

65  Symphony   No.   1,  in  A-flat  (1908,  Man- 

chester) . 
66-57   Part-Songs,    'Angelas'   and   'Go,  song  of 

mine.' 
58    'Elegy,'  for  string-orchestra 
59-60   Six  Songs  and  Two  Songs. 

61  Concerto  in  B  minor,  for  violin  (1910). 

62  Romance  for  bassoon  and  orchestra. 

63  Symphony  No.  2,  in  E-flat  (1911). 
64-65    Coronation  Offertorium  and  March  (1911). 

66  Masque,  'The  Crown  of  India'  (1912). 

67  Psalm  48,  'Great  is  the  Lord.' 

68  Symphonic  Study,  'Falstaff'  (1913). 

69  Ode,   'The   Music-Makers,'   for    contralto, 

chorus,    and   orchestra   (1912,   Birming- 
ham). 

70  Adagio,    'Sospiri,'    for    strings,    harp    and 

organ. 
71-73   Choral  Songs  —  'The  Shower,'  'The  Foun- 
tain,'    'Death    on    the    Hills,'     'Love's 
Tempest,'  'Serenade.' 

74  Anthem,  'Give  unto  the  Lord.' 

75  'The   Carillon,'   recitation  with    orchestra 

(1914). 

76  Symphonic  Poem,  'Polonia'  (1915). 

77  'Une  Voix  dans  le  Desert,'  recitation  with 

music. 

78  Suite,  'The  Starlight   Express,'   for  piano 

(1915). 

79  'The  Belgian  Flag,'  recitation  with  music. 

80  Choruses,  'The  Spirit  of    England'  —  'To 

Women,'  'For  the  Fallen'  (1916). 

82  Sonata  for  violin  and  piano  (1919). 

83  Quartet  for  strmgs  (1919). 

84  Quintet  in  A  minor,  for  piano  and  strings. 

See  critical  studies  by  R.  J.  Buckley,  1904, 
Newman,  1906,  and  Streatfeild,  1912,  and 
article  by  D.  G.  Mason  in  'The  Musical 
Quarterly,'  April,  1917. 

ELGAR  CHOIR,  THE,  of  Hamilton,  Ont., 
was  organized  in  1904  and  gave  its  first  concert 
in  1905.  Its  conductor  from  the  first  has  been 
Bruce  A.  Carey,  whose  ability  has  given  the 
Choir  an  enviable  reputation  for  perfection 
of  choral  style.  The  membership  is  selected 
afresh  each  season  with  reference  to  quality 
and  balance,  the  numbers  varying  usually  from 
100  to  150  or  occasionally  more.  In  1911 
and  1918  the  work  of  the  Choir  was  suspended. 
As  a  rule  there  are  two  annual  concerts,  and 
performances  have  been  given  in  Toronto, 
Brantford,  Detroit  and  Buffalo,  making  a 
total  to  1918  of  25  concerts.  When  the  pro- 
jected Memorial  Hall  is  built  the  Choir  will 
have  a  permanent  headquarters,  and  will 
then  undertake  an  annual  festival  on  a  large 
scale.     The   main   purpose   is    to    promote    a 


cappella  singing,  but  oratorios  and  other 
concerted  works  are  occasionally  given.  In 
larger  performances  the  Choir  has  had  the 
assistance  of  the  Toronto  and  Pittsburgh 
Symphony  Orchestras  and  the  Buffalo  Orches- 
tral Club.  Besides  its  fine  record  in  general 
interpretation,  the  Choir  has  to  its  credit  the 
first  performance  in  Canada  of  Verdi's  Requiem 
(1909),  and  the  first  in  Canada  of  Verdi's 
'Laudi  alia  Vergine  Maria'  (1913),  Lucas' 
'Battle  Ode'  and  'Mariners  of  England,'  and 
Dett's  'O  Holy  Lord'  and  'Weeping  Mary'  — 
the  last  three  being  dedicated  to  it. 

ELMAN,  MISCHA  (Jan.  20,  1892,  Talnoe, 
Russia).  See  article  in  Vol.  v.  635.  His 
first  appearance  in  New  York  was  with  the 
Russian  Symphony  Orchestra  on  Dec.  10, 
1908,  playing  the  Tchaikovsky  concerto, 
followed  a  week  later  by  a  recital.  Since 
then  he  has  made  annual  tours  and  has  been 
beard  in  all  the  large  cities.  He  has  made 
transcriptions  for  violin  and  piano  of  many 
classic  compositions.     [  R.9  ] 

ELSENHEIMER,  NICHOLAS  J.  (b.  1866). 
See  Register,  8. 

ELSHUCO  TRIO,  THE,  formed  in  1918, 
consisted  of  Samuel  Gardner,  violin,  Willem 
Willeke,  'cello,  and  Richard  Epstein,  piano. 
It  was  broken  up  by  the  death  of  Epstein 
in  1919. 

ELSON,  ARTHUR  B.  (Nov.  18,  1873, 
Boston),  is  the  son  and  pupil  of  Louis  C.  Elson 
(see  below).  In  1895  he  graduated  from 
Harvard  and  in  1897  from  the  Massachusetts 
Institute  of  Technology.  He  has  taught 
technical  subjects  in  school  and  college, 
composed  a  string-quartet  and  several  songs, 
and  written  a  notable  series  of  books,  including 
A  Critical  History  of  Opera,  1901,  Orchestral 
Instruments  and  their  Use,  1902,  Woman's 
Work  in  Music,  1903,  Modern  Composers  of 
Europe,  1904,  Music-Club  Programs  from  all 
Nations,  1906,  The  Musician's  Guide  (chief 
contributor  and  editor),  1912,  The  Book  of 
Musical  Knowledge,  1914,  A  Pioneer  School- 
Music  Course,  1916,  and  A  History  of  Vocal 
Music,  1918.  He  has  also  written  many 
periodical  articles  and  criticisms.     [  R.8  ] 

ELSON,  LOUIS  CHARLES  (April  17,  1848, 
Boston:  Feb.  14,  1920,  Boston),  was  long 
prominent  as  lecturer,  teacher  and  writer  on 
musical  subjects.  His  first  studies  were  with 
his  mother,  Hamann  (piano)  and  Kreissmann 
(voice).  In  Leipzig  he  studied  composition 
with  Carl  Gloggner-Castelli.  He  composed  in 
smaller  forms,  songs,  operettas  and  piano- 
works,  but  his  chief  interests  were  literary. 
From  1882  he  was  head  of  the  theory-depart- 
ment of  the  New  England  Conservatory.  He 
lectured  at  many  leading  universities  and 
colleges,  including  Harvard,  Yale,  Vassar, 
Tulane,    Cornell,    Pennsylvania,    Brown    (15 


198 


EMERICK 


ERB 


lectures),  and  at  the  Lowell  Institute  (18 
lectures)  and  the  Drexel  Institute.  For 
seven  years  he  lectured  on  music  for  the  city 
of  Boston,  giving  some  240  lectures  with 
orchestra  and  singers  to  interest  the  masses. 
In  1880  his  literary  work  began  with  'Vox 
Humana,'  a  journal  devoted  to  organ-music, 
and  he  became  also  music-critic  for  the 
'Coiu-ier,'  and  editor  of  'The  Musical  Herald.' 
From  1888  he  was  critic  for  the  'Daily 
Advertiser.'  He  was  also  correspondent  and 
contributor  to  the  'Transcript,'  'Music  and 
Drama,'  'The  Musical  Courier,'  the  New  York 
'Tribune'  and  'Evening  Post,'  'The  Atlantic 
Monthly,'  'The  Quarterly  Review,'  'The 
Etude,'  'The  Musician,'  'La  Revue  Musicale,* 
'Die  Musik'  (till  1914),  'Correo  Musical' 
(Buenos  Aires),  'The  Musical  Quarterly,' 
etc.  He  published  Curiosities  of  Music, 
1883,  German  Songs  and  Song-Writers,  1884, 
History  of  German  Song,  1886,  The  Theory  of 
Music,  1890,  The  Realm  of  Music,  1892, 
National  Music  of  America  and  its  Sources, 
1899,  European  Reminiscences,  1893,  Great 
Composers,  1897,  Shakespeare  in  Music,  1900 
(republished  in  London),  Folk-Songs  of  Many 
Natio7is,  1905,  A  History  of  American  Music, 
1904  (revised  edition,  1915),  Music  Dic- 
tionary, 1906,  Pocket  Music  Dictionary,  1907, 
Syllabus  of  Musical  History  Lectures,  1896, 
Mistakes  and  Disputed  Points  of  Music, 
1910,  Woman  in  Music,  1917  and  Children  in 
Music.  He  was  editor-in-chief  of  the  Uni- 
versity Encyclopedia  of  Music,  10  vols.,  1912, 
and  of  Modern  Music  and  Musicians,  20  vols., 
and  was  also  connected  editorially  with 
Famous  Composers  and  their  Works,  besides 
contributing  to  the  Standard  Encyclopedia  and 
the  Encyclopedia  Americana.  The  range  of 
his  interest,  his  geniality  of  spirit  and  a  lucid 
and  facile  style  combined  to  make  him  widely 
effective  in  upbuilding  an  intelligent  knowledge 
of  music.     [  R.6  ] 

EMERICK,  ALBERT  G.  (1817  -  ?  ).  See 
Register,  4. 

EMERSON,  LUTHER  ORLANDO  (1820- 
1915).    See  Register,  4,  and  Tune-Books,  1853. 

EMERY,  STEPHEN  ALBERT  (Oct.  4, 
1841,  Paris,  Me.  :  Apr.  15,  1891,  Boston), 
after  early  training  under  H.  S.  Edwards  in 
Portland,  went  to  Leipzig  in  1862  and  studied 
with  Plaidy,  Papperitz,  Richter  and  Haupt- 
mann,  then  at  Dresden  with  Spindler.  Re- 
turning in  1864,  he  first  located  in  Portland, 
but  soon  went  to  Boston,  becoming  teacher 
of  piano  and  harmony  at  the  New  England 
Conservatory  at  its  opening  in  1867.  Later 
he  was  also  professor  of  theory  and  com- 
position at  Boston  University.  He  was  for 
a  time  assistant-editor  of  'The  Musical 
Herald.'  At  the  Conservatory  he  remained 
till     his     death.     Ao     excelleot    teg.cher,     be 


numbered  among  his  pupils  many  who  later 
became  important  in  various  parts  of  the 
country.  His  published  compositions  number 
about  150  —  songs,  piano-pieces,  part-songs, 
etc.  His  Foundation-Studies  in  Pianoforte- 
Playing  (written  for  his  own  children)  and  his 
Elements  of  Harmony,  1880,  have  been  widely 
used.     [  R.5  ] 

EMMETT,  DANIEL  DECATUR  (1818, 
Mt.  Vernon,  O.  :  June  27,  1904,  Mt.  Vernon), 
after  working  in  a  printer's  shop  and  serving 
for  a  time  in  the  army,  from  1835  was  in  a 
circus-troupe.  In  1843,  with  Brown,  Whit- 
lock  and  Pelham,  he  formed  the  first  'negro 
minstrel'  troupe,  the  Virginia  Minstrels, 
which  began  its  highly  successful  career  in 
New  York  and  started  a  series  of  such  com- 
panies. In  1858-65  he  was  associated  with 
Dan  Bryant  in  New  York,  writing  the  famous 
song  'Dixie'  in  1859.  In  1865-78  he  con- 
tinued with  his  own  company.  Others  of  his 
songs  were  'Old  Dan  Tucker,'  'The  Road  to 
Richmond,' 'Walk  Along,  John,' etc.      [  R.4  ] 

ENDE,  AMELIA  VON  (b.  1856).  See 
Register,  6. 

ENDE,  HERWEGH  VON  (1877-1919). 
See  Register,  8. 

ENGWERSON,  OTTO.  See  Colleges, 
3  (Denison  U.,  Ohio). 

tENNA,  AUGUST  (May  13,  1860, 
Nakskov,  Denmark).  See  article  in  Vol.  i. 
783.  To  the  list  of  works  add  the  operas 
'Die  Feen'  (1893,  Berlin);  'Das  Streich- 
holzmadel'  and  'Lamia'  (1897,  Berlin); 
'Ung  Elskov'  (1902,  Berlin);  ' Nattergalen ' 
(1912,  Berlin) ;  'Gloria  Arsena'  (1913,  Berlin) ; 
and  ' Komodianten '  (1916);  the  ballets  'The 
Shepherdess  and  the  Chimney-Sweep'  (1901, 
Copenhagen)  and  'St.  Cecilia's  Golden  Shoe' 
(1904,  Copenhagen)  ;  two  symphonies,  in 
D  minor  and  C  minor;  ' Mutterliebe,'  for 
chorus  and  orchestra;  'Miirchen,'  symphonic 
tone-pictures ;  a  '  Festival  Overture ' ;  piano- 
pieces  and  songs. 

ENNA,  EMIL  (b.  1877).     See  Register,  8. 

ENSTONE,  EDWARD.     See  Register,  1. 

EPSTEIN,  ABRAHAM  ISAAC  (b.  1857) 
and  MARCUS  ISAAC  (b.  1855).  See  Re-h- 
ter,  7. 

EPSTEIN,  RICHARD  (1869-1919).  See 
Register,  10. 

ERB,  JOHN  LAWRENCE  (Feb.  5,  1S77, 
Berks  Co.,  Pa.),  went  to  school  in  Pottstown, 
Pa.,  where  he  was  organist  in  1892-94.  For 
five  years  he  studied  at  the  Metropolitan 
College  of  Music  and  the  Virgil  Clavier  School 
in  New  York.  After  ten  years'  teaching  in 
New  York  and  serving  as  organist  at  the 
Broome  Street  Tabernacle  and  the  Second 
Unitarian  Church  in  Brooklyn,  he  went  to 
Wooster,  O.,  where  he  was  music-director  at 
Wooster  University  and  organist  of  the  West- 


ERBEN 


EZERMAN 


199 


minster  Presbyterian  Church.  In  1913-14 
he  was  organist  at  the  Fourth  Presbyterian 
Church  in  Chicago.  In  1914  he  became 
director  of  the  School  of  Music  and  organist 
at  the  University  of  Illinois  in  Urbana.  Since 
1915  he  has  also  been  state  inspector  of  music- 
schools  for  Illinois.  He  has  written  organ- 
and  piano-music,  many  songs,  choruses  and 
anthems.  He  has  also  published  Johannes 
Brahms,  A  Biography,  1904,  Hymns  and 
Chxirch  Music,  1910,  Elements  of  Harmony, 
1911,  and  Elementary  Theory,  1911,  besides 
many  contributions  to  magazines.  He  has 
been  prominently  identified  with  musical  and 
educational  organizations,  and  is  in  demand 
as  a  speaker.  For  two  years  he  was  vice- 
president  of  the  Ohio  Music  Teachers' 
Association,  and  in  1913-15  secretary  and  in 
1915-17  president  of  the  M.  T.  N.  A.  He  is 
a  fellow  of  the  A.  G.  O.  and  in  1916-17  was 
president  of  the  Illinois  Council  of  the  N.  A.  O. 
He  is  now  president  of  the  Illinois  Federation 
of  Music  Clubs,  and  a  member  of  many  com- 
mittees for  the  promotion  of  music  throughout 
the  country.  His  energetic  and  clear-headed 
activities  in  these  directions  are  prompted  by 
high  ideals  regarding  music-education  for  the 
masses.     [  R.8  ] 

ERBEN,  PETER  (1769-1861).  See  Tune- 
Books,  1806. 

t  ERLANGER,  CAMILLE  (May  25,  1863, 
Paris  :  Apr.  24,  1919,  Paris).  See  article 
in  Vol.  i.  789.  Recent  works  are  the  operas 
'Aphrodite'  (1906,  Paris),  'Bacchus  Triom- 
phant'  (1909,  Bordeaux),  'L'Aube  Rouge' 
(1911,  Rouen),  'La  Sorci^re'  (1912,  Paris) 
and  'Le  Barbier  de  Deauville'  (1917);  in- 
cidental music  to  Andre-Legrand's  'La  Reine 
Wanda'  (1918,  Paris) ;  the  symphonic  piece 
'La  Chasse  Fantastique ' ;  the  symphonic 
poem  'Maitre  et  Serviteur'  (after  Tolstoi); 
a  Requiem  for  double  chorus  and  orchestra ; 
piano-pieces  and  songs. 

t  ERLANGER,  FR6d£;RIC  D'  (May  29, 
1868,  Paris).  See  article  in  Vol.  i.  789.  To 
the  list  of  works  add  the  operas  'Tess'  (1906, 
Naples)  and 'Noel'  (1912,  Paris,  1913, Chicago). 
His  pen-name  is  'Frederic  Regnal.' 

ERRANI,  ACHILLE  (1823-1897).  See 
Register,  5. 

ESCHMANN,  KARL  HENRY  (b.  1891). 
See  Colleges,  3  (Denison  U.,  Ohio). 


ESTEY,  JACOB  (1814-1890).  See  Regis- 
ter, 5. 

ESTEY  ORGAN  COMPANY,  THE,  of 
Brattleboro,  Vt.,  was  started  in  1846  by  Jacob 
Estey.  The  present  heads  of  the  business  are 
J.  Gray  Estey  and  J.  Harry  Estey  of  the  third 
generation.  The  firm  suffered  from  fire  in 
1857  and  1864  and  from  flood  in  1869,  but  its 
progress  was  not  checked.  In  somewhat  over 
thirty  years  its  sales  increased  from  $2700 
annually  to  over  a  million. 

'ETUDE,  THE.'  See  note  in  Vol.  iii.  688. 
The  first  editor  was  Theodore  Presser,  its 
founder,  assisted  after  a  time  by  Charles  W. 
Landon,  in  1888-93  Eugene  E.  Ayres,  in 
1893-96  Arthur  L.  Manchester,  in  1897-1907 
W.  J.  Baltzell,  and  since  1907  James  Francis 
Cooke.  It  is  published  monthly  and  the 
average  edition  is  200,000  copies. 

EUTERPEAN  SOCIETY,  THE,  of  New 
York,  was  an  amateur  orchestral  club,  probably 
started  in  1800,  which  continued  to  give  at 
least  one  annual  concert  until  1847,  perhaps 
longer.  It  accumulated  a  small  library  and 
Bome  valuable  instruments.  See  note  in 
Sonneck,  Concert-Life,  pp.  203-4. 

'EUTERPEIAD,  THE,'  was  a  musical 
periodical  started  in  Boston  in  1820.  Another 
journal  of  the  same  name  was  published  in 
New  York  in  1830-31. 

EVANS,  EDWIN  (b.  1876).  See  Regis- 
ter, 9. 

EVANS,  FREDERICK  VANCE  (b.  1883). 
See  Register,  9,  and  Colleges,  3  (Lawrence 
C,  Wis.). 

EVANS,  J.     See  Tune-Books,  1S07. 

EVERETT,  ASA  BROOKS  (1S28-1875) 
and  EVERETT,  L.  C.  (1818-1867).  See 
Register,  4. 

t  EXPERT,  HENRI  (May  12,  1863, 
Bordeaux,  France).  See  article  in  Vol.  i.  797. 
To  the  list  of  his  books  add  Les  muitres  du 
clavecin  des  XVIIe  et  XVII I^  siecles;  Amuse- 
ments des  musiciens  franqais  du  XVIIIe 
sihcle;  Repertoire  de  musique  religieuse  et 
apirituelle.  In  1909  he  became  deputy-libra- 
rian of  the  Paris  Conservatory.  He  wrote 
the  chapter  on  16th-century  French  music  in 
Lavignac's  Encyclopedic  de  la  Musique  (1913-). 

EYER,  J.  F.     See  Tune-Books,  1818. 

EZERMAN,  D.  HENDRIK  (b.  1880). 
See  Register,  9. 


F 


FABRI,  LUDWIG  SCHMITT  (b.  1874). 
See  Register,  9. 

FAELTEN,  CARL  (Dec.  21,  1846,  Ilmenau, 
Germany),  had  some  early  lessons  from 
Montag,  a  pupil  of  Hummel,  in  Weimar, 
and  for  years  supported  himself  by  casual 
playing  of  violin  and  clarinet  in  orchestras. 
From  1868  he  studied  piano  and  theory  with 
Schoch  at  Frankfort,  but  in  1870-71  was 
forced  to  serve  in  the  Franco-Prussian  War. 
After  1874  he  appeared  successfully  as  pianist 
in  several  cities.  From  1877  he  taught  in 
the  Hoch  Conservatory  at  Frankfort  under 
Raff,  after  the  latter's  death  in  1882  migrating 
to  America.  Three  years  were  spent  teaching 
at  the  Peabody  Conservatory  in  Baltimore, 
followed  by  twelve  at  the  New  England 
Conservatory  in  Boston,  where  in  1890-97 
he  was  director.  He  then  established  his 
own  Pianoforte  School,  which  he  has  developed 
in  conjunction  with  his  brother,  Reinhold 
Faelten  (b.  1856,  Germany),  with  marked 
success  (see  below).  Besides  often  appearing 
as  recitalist,  he  has  drafted  a  series  of  in- 
struction-books for  piano-students.  In  the 
preparation  of  this  'Faelten  System'  the  two 
brothers  have  collaborated.     [  R.7  ] 

FAELTEN  PIANOFORTE  SCHOOL, 
THE,  of  Boston,  was  founded  in  1897  by  Carl 
and  Reinhold  Faelten,  the  former  being 
director.  Although  emphasizing  piano-study, 
its  policy  has  been  to  magnify  general  musician- 
ship at  all  stages  of  progress.  About  four- 
fifths  of  the  students  are  in  the  preparatory 
department,  and  only  those  of  marked  ability 
are  encouraged  to  take  advanced  work.  A 
large  part  of  the  instruction  is  in  classes, 
conducted  along  somewhat  original  lines. 
The  faculty  numbers  twelve,  and  the  students 
nearly  700.  The  total  enrolment  has  been 
about  6000,  with  about  200  graduates.  The 
School  is  located  at  30  Huntington  Avenue. 

FAIRCHILD,  BLAIR  (June  23,  1877, 
Belmont,  Mass.),  came  of  musical  stock  and 
while  studying  at  Harvard  took  courses  with 
Paine  and  Spalding,  continuing  later  with 
Buonamici  at  Florence.  For  a  time  he  was 
pressed  to  enter  business  and  in  1901-03  was 
in  diplomatic  service,  as  attach^  first  at 
Constantinople  and  then  at  Teheran.  Since 
1903  he  has  lived  in  Paris  as  student  under 
Widor  and  Ganaye  and  abundant  composer. 
Throughout  the  World  War  he  was  active  in 
relief-work.  His  works,  many  of  them  em- 
bodying impressions  or  material  derived 
from  his  sojourn  in  the  Orient,  include  the 
following : 


'East  and  West,'  op.  17,  a  poem  in  one  movement, 
for  orchestra  —  also  for  piano,  4-hands  (Durdilly). 


Symphonic  Poem,  'ZM,'  op.  38,  after  a  Persian 

legend  (1918,  Paris). 
Symphonic  Poem,  'Shah  F^ridoun,'  op.  39,  after 

a  Persian  legend  (Augener). 
'Legende,'  op.  31,  for  violin  and  orchestra  —  also 

with  piano  (Demets). 
'Tamineh,'  sketch  for  orchestra,  after  a  Persian 

,  legend  (Augener) . 
'Etude    Symphonique,'    op.    45,    for    violin    and 

orchestra. 
'Dame    Libellule,'    op.    44,    ballet-pantomime    in 

one  act. 
Arrangement  of  Schumann's  Adagio  and  Allegro 

(op.  70),  for  'cello  and  orchestra. 
Two  Novelettes,  op.  10,  for  string-quartet  —  also 

for  piano-trio  or  'cello  and  piano  (Durdilly). 
Three  Pieces,  op.   11,  for   'cello  and  piano  or  or- 
chestra (Thompson). 
Three   Pieces,   op.    12,   for  clarinet  and  piano  or 

orchestra  (Pitault). 
Sonata,  op.  16,  for  violin  and  piano  (Durdilly). 
Quintet,  op.  20,  for  piano  and  strings  (Durdilly). 
Rhapsody,  op.  21,  for  piano  and  strings  (Durdilly). 
Trio,  op.  24,  for  piano,  violin  and  'cello  (Augener). 
Concerto,  op.  26,  for  violin,  piano  and  strings  — 

also  for  violin  and  piano  (Augener). 
Quartet,  op.  27,  for  itrings  (Demets). 
Two  Duos,  op.  32,  for  violin  and  'cello  (Augener). 
Six    'Esquisses,'    op.    36,    for    violin    and    piano 

(Augener). 
Sonata,  op.  43,  for  violin  and  piano  (Durand). 
'M61odie'  for  violin  and  piano  (S6nart). 
Two     'Garden     Sketches,'     op.   18,     for     piano 

(Durdilly). 
Two  Fugues  for  organ  (S6nart). 
Six  Psalms,  op.  33,  for  soLi  and  chorus  a  cappella 

(Augener). 
Two   'Bible   Lyrics,'   op.   29,   for  soprano,   chorus 

and  orchestra  (Gray). 
'In  Memoriam,'  for  chorus  a  cappella  (Thompson). 
Requiem,  for  tenor  and  men's  chorui,  with  piano 

or  organ  (Thompson). 
Six  series  of  'Stornelli  Toscani,'  opp.  5,  14,  23,  28, 

30   (the  last  not  yet  out),  settings  of  Tuscan 

folk-poems  (Thompson). 
Twelve  Persian  Folk-Songs  (Novello). 
'A  Baghdad  Lover,'  op.  25,  cycle  of  nine  songs  for 

baritone  (Gray). 
Five  'Greek  Sea-Prayers,'  op.  35  (Augener). 
'Les    Amours    de    Hafiz,'    op.    38,    seven    songs 

(Augener) . 
'Les  Quatrains  d'Al-Ghazali,'  op.  40,  eight  songs  in 

French  (Augener). 
Several  separate  songs,  some  with  orchestra. 

He  was  made  Chevalier  of  the  Legion  d'Hon- 
neur  in  1919.     [  R.9  ] 

FAIRCLOUGH,  GEORGE  HERBERT 
(b.  1869).     See  Register,  7. 

FAIRCLOUGH,  WILLIAM  ERVING  (b. 
1859).     See  Register,  7. 

FAIRLAMB,  JAMES  REMINGTON  (1838- 
1908).     See  Register,  4. 

'FAIRYLAND.'  An  opera,  op.  77,  by 
Horatio  Parker,  the  text  by  Brian  Hooker. 
In  1914  it  won  the  prize  of  SIO.OOO  offered  by 
the  National  Federation  of  Women's  Clubs, 
and  was  first  produced  at  Los  Angeles  on 
July  1,  1915. 

FALK,  LOUIS  (b.  1848).     See  Register,  6. 


200 


FALLBERG 


FARWELL 


201 


FALLBERG,  CARL  (b.  1886).  See  Col- 
leges, 2  (SuUins  C,  Va.). 

'  FALL  OF  UG,  THE.'  A  'masque  of  fear' 
by  Herman  Perlet,  to  a  text  by  Rufus  Steele, 
produced  as  No.  11  of  the  'Grove-Plays'  of 
the  Bohemian  Club  in  California  in  1913. 
The  scene  is  laid  'in  a  redwood  forest  in  the 
days  when  men  fought  with  spears.' 

FANCIULLI,  FRANCESCO  (1853-1915). 
See  Register,  6. 

t  FARJEON,  HARRY  (May  6,  1878,  Ho- 
hokus,  N.  J.).  See  article  in  Vol.  v.  639. 
His  father  was  the  English  novelist  B.  L. 
Farjeon,  so  that  he  has  always  been  a  British 
subject,  but  his  mother  was  the  daughter  of 
Joseph  Jefferson,  the  actor.  The  score  of  his 
'Summer  Vision'  was  lost  when  sent  to 
Germany  for  performance.  Recent  publi- 
cations include  Variations  in  A,  for  piano 
(Augener),  'Peter  Pan  Sketches,'  for  piano 
(Newman),  'Moorish  Idylls,'  for  piano  (Ash- 
down),  an  Air  upon  a  Ground-Bass,  and  the 
singing-game  '  Proud  Princesses '  ;  besides  the 
following  not  actually  out  —  Sonata  in  E,  for 
piano  (Ashdown)  and  'The  Ballet  of  the 
Trees'  (1915)  (Rogers).  Unpublished  are  a 
String-Quartet  in  B-flat,  a  'Poem'  for  violins, 
violas  and  orchestra,  a  Sonata  in  D,  for  'cello, 
'The  Ballet  of  the  Lake,'  the  ballet  'Terp- 
sichore,' Variations  on  a  Russian  Air,  for 
piano,  a  Fugue  for  piano  4-hands,  and  the  song- 
cycle  'The  Shepherds'  Garland.' 

FARNAM,  W.  LYNNWOOD  (Jan.  13, 
1885,  Sutton,  Que.),  had  early  piano-lessons 
from  his  mother.  Miss  M.  L.  Jackson  and 
G.  W.  Cornish,  and  in  1900-04  held  the 
Strathcona  Scholarship  at  the  Royal  College 
of  Music  in  London,  his  teachers  there  being 
Taylor  and  Sharpe  for  piano  and  Higgs, 
Sewell  and  Hoyte  for  organ.  In  1903  he 
became  A.  R.  C.  M.  and  in  1904  A.  R.  C.  O. 
Returning  to  Montreal,  in  1904-05  he  was  or- 
ganist at  St.  James'  (M.  E.),  in  1905-08  at  St. 
James  the  Apostle's,  and  in  1908-13  at  Christ 
Church  Cathedral.  In  1913-18  he  was  at 
Emmanuel  Church  in  Boston,  and,  after  a 
year  in  the  Canadian  army,  in  1919-20  at  the 
Fifth  Avenue  Presbyterian  Church  in  New 
York,  and  is  now  at  the  Church  of  the  Holy 
Communion.     [  R.9  ] 

FARNS  WORTH.  CHARLES  HUBERT 
(Nov.  29,  1859,  Cesarea,  Turkey) ,  was  the  son 
of  missionary  parents,  had  a  general  education 
at  Robert  College  in  Constantinople,  and 
studied  music  in  Boston  and  Worcester. 
From  1876  he  was  organist  and  teacher  at 
Worcester.  In  1888  he  became  the  first 
music-teacher  in  the  University  of  Colorado 
at  Boulder,  where  he  also  taught  in  the  public 
schools  and  conducted  choral  and  orchestral 
societies.  In  1900  he  came  to  New  York, 
becoming  in  1901  head  of  the  department  of 


music  and  speech  in  Teachers  College  at 
Columbia  University,  which  he  has  strongly 
developed.  Popular  education  in  music  has 
been  his  main  object,  and  he  has  specialized 
in  the  systematic  treatment  of  public-school 
music  and  in  musical  appreciation.  He  is 
author  of  Education  through  Music,  1909,  How 
to  Produce  and  Listen  to  Music,  The  Teaching 
of  Elementary  Music,  co-author  of  Tonal 
Phrase-Book,  editor  of  Songs  for  Schools, 
1907,  Grammar-School  Songs,  1916,  and  co- 
editor  of  Folk-Songs,  1916,  Chanteys  and  Sing- 
ing-Games, and  The  Children's  Hymnal.  He 
has  written  articles  on  music- teaching  in  several 
recent  educational  works  in  the  M.  T.  N.  A. 
Proceedings  and  in  various  periodicals.  In 
1911-12  he  was  president  of  the  New  York 
Clef  Club  and  in  1913-14  of  the  M.  T.  N.  A. 
[  R.6  ] 

FARRAR,  GERALDINE  (Feb.  28,  1882, 
Melrose,  Mass.),  began  singing-lessons  at 
twelve  with  Mrs.  J.  H.  Long  of  Boston,  and 
at  thirteen  sang  in  concert  in  Boston.  She 
studied  in  New  York  and  Washington,  in 
Paris  with  Trabadello  and  in  Berlin  with 
Graziani  and  Lilli  Lehmann.  In  1901  she 
made  her  dSbut  as  Marguerite  in  'Faust' 
at  the  Berlin  Royal  Opera  House.  Her  suc- 
cess led  to  her  being  retained  for  three  years, 
with  repeated  renewals,  and  to  engagements 
at  Stockholm,  Warsaw,  Munich,  the  Op6ra- 
Comique  in  Paris,  and  Monte  Carlo.  Her 
American  debut  was  at  the  Metropolitan 
Opera  House  in  November,  1906,  as  Juliet  in 
'Romeo  et  Juliette.'  Her  repertory  includes 
the  parts  of  Marguerite  (in  'Faust,'  'Mefisto- 
fele,'  and  'La  Damnation  de  Faust'),  Manon, 
Micaela,  Carmen,  Mignon,  Elizabeth,  Tosca, 
Zerlina  and  Elvira,  Juliet,  Gilda,  Violetta, 
Thais,  Angela  (in  'Le  Domino  Noir'),  Char- 
lotte (in  'Werther'),  Susanna  and  Cheru- 
bino  (in  'Figaro'),  Mimi,  Madama  Butterfly, 
Desdemona,  Elsa  and  Eva.  She  was  the 
first  to  sing  the  principal  roles  in  Mascagni's 
'L'Amico  Fritz'  (1905),  Camondo's  'The 
Clown '  (1905) ,  Saint-Saens ' '  L'Ancetre '  (1906) , 
and  Humperdinck's '  Konigskinder '  (1910) .  She 
married  the  actor  Lou  Tellegen  [Von  Dom- 
melen]  in  1916.  Highly  gifted  as  an  actress 
as  well  as  singer,  she  has  also  been  successful 
in  film-productions,  beginning  with  '  Carmen ' 
in  1915.  Her  autobiography  was  published 
in  1916.     [  R.9  ] 

FARWELL,  ARTHUR  (Apr.  23,  1872, 
St.  Paul),  began  his  education  at  Baldwin 
Seminary  in  St.  Paul,  and  graduated  from  the 
Massachusetts  Institute  of  Technology  in 
1893,  having  specialized  in  electrical  engineer- 
ing. He  turned  to  music  and  for  six  years 
was  a  pupil  of  Norris  in  Boston,  of  Humper- 
dinck  in  Berlin  and  of  Guilmant  in  Paris. 
He  lectured  on  music  at  Cornell  University  in 


202 


FAURE 


FESTIVALS 


1899-1901.  He  then  established  at  Newton 
Center,  Mass.,  the  'Wa-Wan  Press'  for  the 
publication  of  music  by  Americans,  and 
particularly  those  whose  works  '  were  based  on 
the  melodies  and  folk-lore  of  the  American 
Indians.'  In  1903  he  made  investigations 
among  the  Indians  in  the  Far  West,  and 
prepared  a  report  on  Indian  Songs  and  Span- 
ish-Californian  Folk-songs  for  the  American 
Institute  of  Archaeology.  In  1905  he  founded 
the  American  Music  Society,  of  which  he  is 
president.  In  1909-15  he  was  on  the  editorial 
staff  of  '  Musical  America,'  in  1910-13 
supervisor  of  municipal  concerts  in  New 
York,  in  1915-18  director  of  the  Music 
School  Settlement  there,  and  in  1918-19 
acting  professor  of  music  at  the  University 
of  California.  He  has  for  years  been  deeply 
interested  in  community-music. 

As  composer  he  ia  best  known  by  works 
based  upon  Indian  themes,  such  as  the 
'Cornell'  Overture,'  op.  9;  American  In- 
dian Melodies  for  piano ;  the  orchestral 
pieces  'Dawn,'  'Ichibuzzh'  and  'The  Do- 
main of  the  Hurakan ' ;  the  Symbolistic 
Studies,  for  piano,  opp.  16,  17,  18  and 
24  ;  '  Impressions  of  the  Wa-Wan  Ceremony,' 
op.  21 ;  and  the  'Navajo  War-Dance,'  op.  29. 
He  wrote  music  for  the  Meriden,  N.  H.,  and 
Darien,  Conn.,  pageants  of  1913,  for 
Mackaye's  'Caliban  by  the  Yellow  Sands,' 
a  masque  for  the  Shakespeare  Tercentenary 
in  New  York  in  1916,  and  for  the  community- 
masque  'The  Evergreen  Tree,'  as  well  as 
incidental  music  for  Parker's  'Joseph  and  his 
Brethren'  and  Sheldon's  'Garden  of  Paradise' 
(1913,  New  York).  He  has  also  a  tone-poem, 
op.  34,  for  voice  and  orchestra,  with  words 
from  Sterling's  'Duandon';  the  song  'A 
Ruined  Garden,'  op.  14,  with  orchestra  or 
piano;  a  setting  of  Whitman's  'Captain,  my 
Captain '  for  chorus  and  orchestra ;  other  cho- 
ruses and  many  songs.  He  has  written  and 
lectured  extensively  and  earnestly  on  behalf  of 
American  music.  He  edited  Music  in  America, 
Vol.  iv.  of  The  Art  of  Music,  1915.     I  P. 8  ] 

|FAUR]<;,  GABRIEL  URBAN  (May  13, 
1845,  Pamiers,  France).  See  article  in  Vol. 
ii.  15.  In  1909  he  was  elected  to  the  Academie 
and  in  1910  was  made  commander  of  the  Lfegion 
d'Honneur.  In  1919  he  retired  as  director 
of  the  Conservatory,  Rabaud  returning  from 
America  to  take  his  place.  Concerts  of  his 
music  have  been  given  in  recent  years  at 
Paris  and  elsewhere,  with  growing  apprecia- 
tion of  the  scope  and  variety  of  his  com- 
positions. Among  later  works  are  the  opera 
'P6n61ope'  (1913,  Paris),  incidental  music  to 
Clemenceau's  'Le  Voile  du  Bonheur,'  and  a 
piano-quintet  in  D  minor.  See  biography  by 
Vuillemin,  1914. 

FAY,  AMY  (b.  1844).     See  Register,  6. 


FAY,    CHARLES    NORMAN    (b.    1848). 

See  Register,  8. 

FAY,  MAUDE  (b.  1883).     See  Register,  9. 

'FEAST  OF  TABERNACLES,  THE.' 
An  oratorio  or  cantata  by  Charles  Zeuner, 
published  in  1832  and  sung  by  the  chorus  of 
the  Boston  Academy  in  1838. 

FEDERLEIN,  GOTTFRIED  HEINRICH 
(b.  1883).     See  Register,  9. 

FEDERLEIN,  GOTTLIEB  HEINRICH 
(b.  1835).     See  Register,  7. 

FERRARI-FONTANA,  EDOARDO  (b. 
1878).     See  Register,  10. 

FERRATA,  GIUSEPPE  (Jan.  1,  1865,  Gra- 
dioli,  Italy),  at  fourteen  won  a  scholarship 
at  the  Accademia  S.  Cecilia  in  Rome,  studied 
under  Sgambati,  Terziani  and  Leonardi,  and 
graduated  in  1885,  with  a  prize  that  secured 
him  some  instruction  from  Liszt.  Until  1890 
he  gave  piano-recitals  in  Italy.  In  1892  he 
came  to  America  and  has  been  music-director 
in  several  schools  and  colleges.  He  is  now 
head  of  the  piano-department  and  professor 
of  composition  and  instrumentation  at  New- 
comb  College  in  New  Orleans.  He  was 
knighted  by  the  King  of  Portugal  in  1887  and 
twice  later  by  the  King  of  Italy,  who  in  1914 
made  him  Commandatore  in  the  Order  of 
the  Crown.     His  works  include 

Concerto,  op.  5,  for  piano  and  orchestra. 

Symphony  in  three  movements,  op.  40,  for  or- 
chestra and  chorus. 

Quartet,  op.  28,  for  strings  (J.  Fischer). 

Two  other  string-quartets. 

12  'Italian  Spring  Melodies,'  op.  7,  for  violin  and 
piano  (Fischer). 

'Meditation  Religieuse,'  op.  10,  no.  1,  for  violin 
and  piano  (Fischer). 

'Cortege  Nuptial,'  op.  20,  no.  1,  for  violin  and 
piano  (Fischer). 

Suite,  op.  31,  for  violin  and  piano  (Fischer). 

Modern  Suite  for  organ,  and  several  other  organ- 
works. 

'Valse,'  op.  24,  for  piano  (Fischer). 

'  Romance  sans  Paroles '  and  '  Valse  de  Concert,' 
op.  25  (Schirmer). 

'Toccata  Chromatique,'  op.  28,  for  piano  (prize- 
composition,  Art  Publ.  Soc). 

Messe  Solenelle,  op.  15,  for  soli,  chorus  and  organ 
or  orchestra  (Fischer). 

Misaa  in  G,  op.  18,  for  men's  chorus  and  organ 
(Fischer). 

Requiem  Mass  for  mixed  chorus. 

'Tota  pulchra  est  Maria,'  op.  16,  for  mixed  or 
women's  chorus  and  organ  (Fischer). 

'Dies  Irae,'  op.  35,  for  chorus  in  eight  real  parts. 

Cycle  of  'Folk-Songs  from  the  Spanish,'  op.  8,  for 
mixed  quartet  (Fischer). 

Many  piano-pieces  (Fischer,  Ricordi,  Church), 
and  several  songs  (Fischer,  Schirmer,  Ricordi). 

Three  dramatic  operas  in  manuscript. 

In  1908  four  of  the  above  works  were  awarded 
first  prizes  in  a  competition  arranged  by  the 
Art  Society  of  Pittsburgh.     [  R.8  ] 

FESTIVALS,  MUSICAL.  Some  notes  are 
given  in  the  Introduction  (pp.  35-6)  as  to 
the  genesis  of  the  'festival'  idea.     The  first 


FICHTHORN 


FINCK 


203 


experiments  came  before  the  Civil  War  —  by 
the  Handel  and  Haydn  Society  of  Boston  in 
1857  and  at  Worcester  in  1858,  though  neither 
of  these  series  became  established  till  the  next 
decade.  Analogous  undertakings  in  New  Eng- 
land that  have  persisted  are  those  held  in 
Maine  (at  Portland  or  Bangor)  since  1897  and 
at  Springfield,  Mass.,  since  1903.  At  numerous 
points  in  other  States  where  there  are  energetic 
choral  societies  similar  enterprises  are  in 
operation.  The  May  Festivals  held  biennially 
at  Cincinnati  since  1873  long  stood  in  a  class 
somewhat  by  themselves,  though  sporadically 
imitated  in  other  places.  In  Cincinnati  and 
also  in  Chicago  operatic  festivals  were  for  a 
time  maintained.  Since  1902  the  Bohemian 
Club  of  California  has  given  a  remarkable 
series  of  'Grove-Plays.'  The  Bethlehem  Bach 
Festivals  in  Pennsylvania  were  begun  in  1900 
(intermitted  in  1905-11,  when  similar  efforts 
were  made  by  Dr.  Wolle  at  Berkeley,  Cal.). 
The  Norfolk  Festivals  in  Connecticut  were 
established  on  a  broad  scale  in  1906.  The 
unique  Peterboro  Festivals  in  New  Hamp- 
shire followed  in  1910,  the  ^Lockport  (N.  Y.) 
Festivals  in  1916,  and  the  Berkshire  Festivals 
in  Massachusetts  in  1917.  Several  leading 
educational  institutions  have  become  noted 
for  the  significance  of  their  annual  musical 
undertakings,  especially  the  University  of 
Michigan  since  1893,  Northwestern  University 
in  Illinois  and  Cornell  University  in  New 
York  since  1909,  with  a  host  of  others  of  less 
importance  in  the  South  and  West.  Several 
of  the  great  Expositions  have  maintained 
musical  features  that  assumed  a  festival 
quality,  notably  the  Columbian  at  Chicago 
in  1893  and  the  Panama-Pacific  at  San 
Francisco  in  1915.  Various  national  groups 
have  held  annual  gatherings  of  a  festival 
character.  The  German  singing-societies 
started  this  custom  in  some  form  as  early  as 
1850.  Two  of  the  comprehensive  Sanger- 
bunds  have  been  continuously  active  since 
1881  and  1892  respectively.  Competitions 
of  Welsh  societies  have  long  been  common. 
Norwegian  and  Swedish  festivals  have  occurred 
since  before  1910.  All  these  latter  tend  to  move 
somewhat  from  place  to  place.  The  National 
Federation  of  Musical  Clubs  has  not  only  held 
a  national  festival  biennially  since  about  1900, 
but  is  continually  promoting  smaller  enter- 
prises. The  custom  of  holding  local  and 
historical  'pageants'  has  spread  widely  since 
about  1910,  often  leading  to  complex  under- 
takings of  decided  significance. 

FICHTHORN,    CLAUDE    L.      See   Col- 
leges, 3  (Missouri  Valley  C). 

FIEDLER,    AUGUST    MAX    (b.    1859). 
See  Register,  9. 

FILLMORE,   AUGUSTUS    D.   (1823-?), 
See  Tune-Books,  1849. 


FILLMORE,  JOHN  COMFORT  (Feb.  4, 
1843,  Franklin,  Conn.  :  Aug.  15,  1898, 
Franklin),  in  1862-65  studied  at  Oberlin 
College,  having  some  organ-lessons  with  G. 
W.  Steele.  He  then  went  to  Leipzig,  coming 
under  Papperitz,  Richter  and  Hauptmann. 
In  1867-68  he  was  director  of  the  music- 
department  at  Oberlin,  in  1868-78  professor 
of  music  at  Ripon  College  in  Wisconsin,  and 
in  1878-84  in  a  similar  position  at  the  Mil- 
waukee College  for  Women.  He  founded  the 
Milwaukee  School  of  Music  in  1884,  and  was 
its  director  until  1895,  when  he  became 
director  at  Pomona  College  in  California. 
A  musical  enthusiast,  he  influenced  a  wide 
circle  of  pupils.  He  was  one  of  the  earliest 
students  of  Indian  music,  and,  with  Miss 
Fletcher  and  La  Flesche,  published  A  Study 
of  Omaha  Indian  Music,  1893,  and  many 
magazine  articles.  His  other  books  are  His- 
tory of  Pianoforte-Music,  1883,  New  Lessons 
in  Harmony,  1887,  Lessons  in  Musical  History, 
1888,  On  the  Value  of  Certain  Modern  Theories 
(von  Oettingen's  and  Riemann's),  and  trans- 
lations of  Riemann's  Klavierschule  and  Natur 
der  Harmonik,  besides  a  long  list  of  articles 
and  addresses.     [  R.5  ] 

FINCK,  HENRY  THEOPHILUS  (Sept. 
22,  1854,  Bethel,  Mo.),  spent  his  youth  at 
Aurora,  Ore.,  whither  his  parents  removed 
to  escape  the  turmoil  of  the  Civil  War.  In 
1876  he  graduated  from  Harvard  with  highest 
honors  in  philosophy  and  a  fellowship.  While 
in  college  he  took  courses  under  Paine,  though 
specializing  in  psychology  and  aesthetics  rather 
than  music.  He  attended  the  first  festival 
at  Bayreuth  in  1876  and  spent  the  following 
winter  in  Munich,  devoting  himself  to  Wagner- 
ism.  In  1878-81  he  studied  psychology  at 
Berlin,  Heidelberg  and  Vienna,  but  also 
wrote  frequently  for  the  New  York  'Nation' 
and  'World'  and  for  the  'Atlantic  Monthly' 
on  Darwinism,  Schopenhauer  and  other  sub- 
jects, including  music.  In  1881,  when  the 
'Nation'  and  the  'Evening  Post'  were  merged 
under  Schurz,  Godkin  and  White,  he  became 
a  member  of  the  staff  (and  has  so  continued 
ever  since),  developing  many  critical  views 
about  music  and  musicians  that  were  then 
novel.  He  has  especially  emphasized  the 
value  of  Wagner,  Schumann,  Chopin,  Liszt, 
Grieg,  Tchaikovsky,  Dvordk,  MacDowell 
and  many  others  with  enthusiastic  acumen. 
His  literary  skill  has  enabled  him  to  present 
facts  and  opinions  so  as  to  command  the 
interest  of  many  readers  and  challenge  re- 
spectful attention.  Since  1890  he  has  lectured 
on  music-history  at  the  National  Conservatory, 
where  he  was  associated  with  Dvorak  and 
Joseffy.  In  1890  he  married  Abbie  H.  Cush- 
man,  a  pupil  of  Joseffy,  who  has  not  only 
shared  his  literary  work,  but  herself  written 


204 


FIQUE 


FISK  UNIVERSITY 


on  Paderewski  and  R6naud  in  the  'Century 
Magazine'  and  is  preparing  a  volume  of  musi- 
cal and  literary  reminiscences. 

His  musical  publications  include  Chopin 
and  Other  Musical  Essays,  1889,  Wagner  and 
his  Works,  2  vols.,  1893  (in  German,  1897), 
Pictorial  Wagner,  1899,  Anton  Seidl,  1899, 
Songs  and  Song-Writers,  1900,  Grieg  and  his 
Music,  1909  (1st  ed.  revised  by  Grieg  and 
2nd  with  letters  from  him  to  the  author), 
Success  in  Music,  1909  (largely  a  record  of 
personal  relations  with  musicians),  Massenet 
and  his  Operas,  1910  (partly  based  on  matter 
supplied  by  the  composer),  Richard  Strauss, 
1917,  and  the  following  edited  collections : 
Fifty  Master-Songs,  1902,  Fifty  Schubert  Songs, 
1903,  Fifty  Grieg  Songs,  1909,  One  Hundred 
Songs  by  Ten  Composers,  1917.  In  the  field 
of  psychological  aesthetics  he  has  written 
Romantic  Love  and  Personal  Beauty,  1887, 
Primitive  Love  and  Love-Stories,  1899,  and 
Food  and  Flavor,  1913.  Observations  as  a 
traveler  are  embodied  in  The  Pacific  Coast 
Scenic  Tour,  1890,  Spain  and  Morocco,  1891, 
and  Lotos-Time  in  Japan,  1898.  Aside  from 
his  championship  of  musicians  and  musical 
movements  not  at  first  appreciated,  he  con- 
siders his  studies  regarding  the  primitive 
love-impulse  and  the  neglected  sense  of  smell 
his  most  original  work.     [  R.7  ] 

FIQUfi,  KARL  (b.  1867).     See  Register,  7. 

FIRTH,  JOHN  (1789-1864).  See  Regis- 
ter, 3. 

FISCHER,  CARLO  (b.  1872).  See  Regis- 
ter, 8. 

FISCHER,  EMIL  (June  13,  1838,  Bruns- 
wick, Germany  :  Aug.  11,  1914,  Hamburg, 
Germany),  was  the  son  of  parents  who  were 
good  singers.  He  was  first  trained  as  player 
of  the  violin  and  horn.  At  eighteen  he  took 
up  vocal  study  with  his  father,  and  in  1857 
made  his  debut  at  Graz  as  the  Seneschal  in 
Boieldieu's  'Jean  de  Paris.'  He  then  sang 
in  Pressburg,  Stettin  and  Brunswick,  directed 
the  opera  at  Danzig  in  1863-70,  and  sang  at 
the  Royal  Opera  in  Rotterdam  in  1875-80 
and  at  the  Dresden  Court  Opera  in  1880-85. 
In  1885  he  came  to  the  Metropolitan  Opera 
House  in  New  York,  singing  during  the  first 
season  directed  by  Seidl.  Till  1891  and  more 
or  less  till  his  retirement  in  1898  he  remained 
associated  with  the  Metropolitan,  extremely 
popular  both  as  man  and  as  artist.  During 
his  career  he  sang  in  101  operas,  and  appeared 
839  times  in  America.  He  continued  in  New 
Yoi'k  as  teacher  to  the  end  of  his  life,  spending 
the  summers  in  Germany.  His  Sachs  in  'Die 
Meistersinger '  is  often  quoted  as  a  model  of 
both  singing  and  acting ;  his  Wotan,  Hagen, 
King  Mark,  King  (in  'Lohengrin')  and  Land- 
grave were  almost  equally  distinguished.  He 
was    successful    also    in    French    and    Italian 


operas,  though  his  Wagnerian  interpretations 
were  more  famous.     [  R.7  ] 

FISCHER,  JOHN  U.  (1816-  ?  )  and 
CHARLES  S.  (1818-    ?  ).     See  Register,  4. 

FISCHER,  WILLIAM  GUSTAVUS  (1835- 
1912).     See  Register,  4. 

FISHER,  EDWARD  (Jan.  11,  1848,  Ja- 
maica, Vt.  :  May  31,  1913,  Toronto),  had 
early  training  in  Worcester,  at  the  New 
England  Conservatory  in  Boston  and  with 
Eugene  Thayer.  In  Germany  he  studied 
piano  with  Loeschhorn  and  organ  with  Haupt. 
In  1875  he  became  music-director  at  the  Ladies' 
College  in  Ottawa,  and  in  1879  organist  at 
St.  Andrew's  in  Toronto,  where  he  continued 
for  twenty  years.  During  this  time  the  St. 
Andrew's  Choral  Society  expanded  into  the 
Toronto  Choral  Society.  His  most  eminent 
accomplishment,  however,  was  the  foundation 
in  1887  of  the  Toronto  Conservatory,  of  which 
he  remained  the  head  till  his  death  and  which 
he  brought  to  a  high  degree  of  efficiency.  He 
was  also  prominent  in  the  establishment  of 
the  Canadian  Society  of  Musicians,  the  Clef 
Club,  the  Canadian  Guild  of  Organists  and 
the  Toronto  Symphony  Orchestra.     [  R.6  ] 

FISHER,  WILLIAM  ARMS  (Apr.  27, 
1861,  San  Francisco),  is  descended  from  an 
old  New  England  family.  He  first  studied 
piano,  organ  and  theory  with  J.  P.  Morgan 
in  Oakland.  In  1890  he  came  to  New  York, 
taking  vocal  lessons  with  several  teachers 
there,  and  in  1892  went  to  London  to  work 
with  Shakespeare.  On  his  return  he  studied 
counterpoint,  canon  and  fugue  with  Horatio 
Parker,  composition  and  orchestration  with 
Dvordk.  He  taught  harmony  at  the  National 
Conservatory  of  Music  until  1895,  when  he 
removed  to  Boston.  In  1897  he  assumed 
his  present  position  as  editor  and  publishing- 
manager  of  the  Ditson  Company.  As  a  song- 
composer  he  has  had  notable  success.  Of 
some  80  published  songs  the  most  popular 
are  'Under  the  Rose,'  'Gae  to  Sleep,'  'Sweet 
is  Tipperary,'  'When  Allah  Spoke,'  'Oh,  can 
night  doubt  its  star.'  He  has  also  published 
an  'Elegy'  for  violin  and  piano,  part-songs, 
anthems  and  carols,  and  edited  a  volume  of 
60  Irish  songs,  besides  writing  Notes  on  Music 
in  Old  Boston,  1918  —  a  brief,  but  striking 
historical  sketch.     [  R.7  ] 

FISK  UNIVERSITY,  Nashville,  Tenn. 
(Congregational),  one  of  the  earliest  institu- 
tions of  higher  education  for  negroes,  has  a 
peculiar  musical  interest.  From  its  foundation 
in  1866  singing  was  taught  by  George  L. 
White,  the  treasurer  of  the  institution,  who 
in  1871-74  conducted  the  famous  tour  of  the 
'Jubilee  Singers'  (q.v.).  The  present  depart- 
ment of  music  offers  systematic  courses  in 
piano,  organ,  violin,  voice  and  public-school 
music,  with  credits  in  theory,  history  and  pub- 


FITZ 


FLORID  lA 


205 


lie-school  methods  towards  an  A.B.  The  Mo- 
zart Society,  organized  in  1880,  serves  as  both 
choir  and  oratorio-society.  The  department 
has  a  good  equipment,  including  a  three-man- 
ual organ.  The  principal  is  Jennie  A.  Robin- 
son, with  six  other  instructors. 

FITZ,  ASA.     See  Tune-Books,  1841. 

FLAGG,  JOSIAH  (173S?-1794).  See  Reg- 
ister, 1,  and  Tune-Books,  1764. 

FLAGLER,  HARRY  BARENESS  (b. 
1870).     See  Register,  10. 

FLAGLER,  ISAAC  VAN  VLECK  (1848- 
1909).     See  Register,  6. 

FLECK,  HENRY  THOMAS  (b.  1863) .' 
See  Colleges,  2  (Hunter  C,  N.  Y.). 

FLETCHER,  ALICE  CUNNINGHAM 
(1845,  Boston),  received  her  early  education 
in  private  schools  in  Boston.  She  has  given! 
her  life  to  investigations  of  the  North  American 
Indians  and  efforts  for  their  betterment. 
Besides  original  work  in  the  West,  she  has 
repeatedly  served  as  special  representative 
of  the  National  Government.  Since  1882 
she  has  been  assistant  in  ethnology  at  the 
Peabody  Museum  in  Cambridge,  Mass.,  and 
is  prominent  in  various  archaeological  and 
folk-lore  societies.  She  is  author  of  A  Study 
of  Omaha  Music,  1893  (with  La  Flesche), 
Indian  Story  and  Song,  1900,  and  many 
articles  in  the  publications  of  the  Bureau  of 
Ethnology  and  the  Peabody  Museum,  'The 
American  Anthropologist,'  'The  Folk-Lore 
Journal,'  etc.     [  R.8  ] 

FLETCHER,  WILLIAM  Z.  See  Col- 
leges, 3  (Blue  Ridge  C,  Md.). 

FLINT,  TIMOTHY  (1780-1840).  See 
TuNE-BoOKS,   1816. 

FLINT  COMMUNITY  MUSIC  ASSOCI- 
ATION, THE,  of  Flint,  Mich.,  originated  in 
1913  in  a  choral  society,  which  continued  till 
1915,  being  then  interrupted  by  the  war. 
In  1917,  however,  it  was  revived  in  a  new  form, 
'to  create  a  common  or  general  interest  in 
music'  George  Oscar  Bowen  was  secured  as 
director,  and  funds  were  appropriated  by  the 
Board  of  Education,  the  Board  of  Commerce 
and  the  Manufacturers'  Association,  amount- 
ing at  first  to  about  $8000  per  year  and  now 
increased  to  over  $20,000.  The  foundational 
activity  is  the  maintenance  of  daily  'sings' 
for  various  groups,  especially  in  the  large 
factories.  The  public  school  buildings  are  used 
for  frequent  neighborhood  entertainments.  A 
chorus  of  limited  size  was  formed  for  giving 
works  of  some  magnitude-,  and  an  orchestra 
of  35.  A  Municipal  Band  of  first-class  order 
is  now  projected,  as  well  as  other  bands  for 
amateurs. 

FLODIN,  KARL  (July  10,  1858,  Wasa, 
Finland,  of  German  parents),  though  a 
resident  of  Buenos  Aires  since  1907,  is  classed 
as  a  strong  influence  in  Finnish  music.     He 


studied  with  Faltin  in  Helsingfors  and  at  the 
Leipzig  Conservatory.  For  some  years  he 
was  music-critic  in  Helsingfors  and  in  1902-05 
edited  the  'Post'  there.  He  has  composed 
a  'Cortege'  for  wind-instruments;  incidental 
music  to  Hauptmann's  'Hannele';  'Helena,' 
a  scene  from  Goethe's  Faust,  for  soprano  and 
orchestra;  and  much  chorus-music.  He  is 
the  author  of  Finnish  Music,  1900  (in  Swed- 
ish), J.  Sibelius  (in  '  Finnische  Rundschau,' 
1901),  Die  Entwicklung  der  Musik  in  Finnland 
(in  'Die  Musik,'  1903),  Die  Erweckung  des 
Nationalen  Tones  in  der  finnischen  Musik 
(in  'Die  Musik,'  1904),  and  a  biography  of 
Sibelius,  which  was  ready  for  publication  in 
1916.     [  R.9  ] 

FLOERSHEIM,  OTTO  (b.  1853).  See  Reg- 
ister, 6. 

FLONZALEY  QUARTET,  THE,  was 
founded  by  Edward  J.  de  Coppet  of  New 
York.  In  the  fall  of  1902  he  commissioned 
Alfred  Pochon  to  select  the  players,  and  in  the 
summer  of  1903  rehearsals  began  at  his  summer 
home,  Flonzaley,  near  Lausanne  in  Switzer- 
land. The  original  membership,  which  re- 
mained unbroken  till  1917,  included  Adolfo 
Betti,  first  violin,  Alfred  Pochon,  second  violin, 
Ugo  Ara,  viola,  and  Ivan  d'Archambeau,  'cello. 
All  but  the  last  had  been  pupils  of  C6sar 
Thomson  at  Li^ge.  At  first  Pochon  and  Betti 
alternated  positions.  The  members  agreed  to 
devote  themselves  wholly  to  the  Quartet,  and 
the  original  intention  of  the  founder  was  that 
it  should  not  appear  except  more  or  lesa 
privately  or  for  charitable  objects.  In  1904, 
however,  a  European  tour  was  made,  beginning 
at  Vienna,  and  at  the  end  of  December  the 
Quartet  was  heard  in  New  York.  The  demand 
was  insistent  on  both  sides  of  the  water  that 
they  should  make  regular  and  extensive  tours. 
Since  then  their  superiority  in  every  artistic 
quality  of  interpretation  and  performance  has 
been  everywhere  acclaimed.  In  1917  Ara  felt 
constrained  to  join  the  Italian  army,  and  Louis 
Bailly  succeeded  him.  Since  de  Coppet's  death 
in  1916  the  maintenance  of  the  Quartet  has 
been  assumed  by  his  son  Andre. 

FLORIDIA,  PIETRO,  Barone  NAPOLINO 
(May  5,  1860,  Modica,  Sicily),  at  the  Naples 
Conservatory  studied  piano  with  Cesi,  counter- 
point and  composition  with  Serrao  and  Rossi. 
He  began  publishing  piano-works  while  still 
a  student,  and  the  comic  opera  'Carlotta 
Clepier'  (later  destroyed  by  the  composer) 
was  given  in  Naples  in  1882.  In  1885-90 
he  toured  as  concert-pianist,  locating  at 
Palermo  in  1888  as  first  professor  of  piano 
in  the  Conservatory.  In  1889  he  won  the 
first  prize  of  the  Society,  del  Quartetto  in 
Naples  for  a  symphony.  The  years  1892-1904 
were  devoted  to  composition  in  Milan.  Com- 
ing  to  America  in   1904,   he   taught   at  the 


206 


FLORIO 


FOERSTER 


Cincinnati  College  of  Music  in  1906-08,  and 
has  since  lived  in  New  York,  where  from  1913 
he  has  conducted  the  Italian  Symphony 
Orchestra.  In  addition  to  the  works  named 
above,  he  has  composed  the  operas  'Maruzza' 
(1894,  Venice),  'La  Colonia  Libera'  (1899, 
Rome),  'Paoletta'  (1910,  Cincinnati),  and  the 
grand  opera  'The  Scarlet  Letter'  (composed 
about  1902).  Incidental  music  to  Wilde's 
'A  Florentine  Tragedy'  was  performed  in 
New  York  in  1917.  There  is  also  a  'Fest- 
Ouvertiire '  for  orchestra.  Among  many  songs 
may  be  cited  'Separation,'  'Why?'  'Nymph,' 
'Night  of  Spring,'  'Nocturnal  Landscape' 
(all  Schirmer) ;  'Two  Leaves,'  'When  I  am 
Dead,'  'The  Apple'  (all  Carl  Fischer);  'The 
Nun,'  'Pamphilo's  Song,'  adapted  from 
Boccaccio  by  Bispham  (both  Ditson) ;  and 
'A  Madrigal  of  the  Italian  Renaissance' 
(Breitkopf).  He  has  also  begun  issuing  a 
series  of  early  Italian  songs  with  revised  or 
original  accompaniments  and  critical  notes 
(1st  series  of  40,  Ditson).     [  R.9  ] 

FLORIO,  CARYL  [William  James  Robjohn] 
(Nov.  3,  1843,  Tavistock,  England),  was 
brought  to  America  in  1857.  In  1859-60 
he  sang  at  Trinity  Church  in  New  York  —  its 
first  solo  soprano-boy.  In  1861-67  he  was  in 
a  theatrical  troupe,  returning  to  New  York 
in  1869  as  teacher,  organist,  conductor  and 
composer.  In  1875-82  he  conducted  operas 
in  New  York,  Havana  and  Philadelphia,  and 
later  concerts  of  his  own  -^rks  in  New  York. 
For  a  time  he  was  music-director  at  the 
Baptist  Female  Institute  in  Indianapolis 
and  in  1889-91  at  Wells  College  in  Aurora, 
N.  Y.  At  different  periods  he  has  been  or- 
ganist at  Trinity  Church  in  Newport,  R.  I., 
Zion  Church  in  New  York,  Mt.  Calvary  in 
Baltimore,  and  for  many  years  at  All  Souls' 
in  Biltmore,  N.  C,  where  in  1896-1901  he 
had  charge  of  the  music  at  the  Vanderbilt 
estate.  In  1886  he  organized  a  Palestrina 
Choir  in  New  York  for  the  production  of 
mediffival  music,  and  has  led  other  choral  and 
orchestral  societies.  He  has  written  the 
operettas  'Inferno'  (1871),  'Les  Tours  de 
Mercure'  (1872),  'Suzanne'  (1876),  and  the 
opera  'Gulda'  (1879),  all  to  his  own  texts; 
also  the  opera  'Uncle  Tom'  (1882,  Philadel- 
phia), and  the  cantatas  'Songs  of  the  Ele- 
ments,' 'The  Bridal  of  Triermain'  and  'The 
Night  at  Bethlehem,'  two  symphonies,  in  G 
and  C  minor  (the  latter  commended  by 
Thomas),  two  overtures,  a  quintet  for  piano 
and  saxophones  (the  first  of  its  kind),  two 
saxophone-quartets,  a  piano-concerto  in  F 
minor,  four  violin-sonatas,  two  piano-sonatas, 
much  church-music,  madrigals,  part-songs 
and   songs.     [  R.5  ] 

FOBES,  AZARIAH.  See  Tunb-Books, 
1809. 


FOERSTER,  ADOLPH  MARTIN  (Feb. 
2,  1854,  Pittsburgh),  was  first  taught  by  his 
mother.  In  1872-75  he  studied  at  the  Leipzig 
Conservatory,  and  in  1875-76  taught  at  the 
Fort  Wayne  (Ind.)  Conservatory.  Since  1876 
he  has  lived  in  Pittsburgh,  teaching  and  com- 
posing. For  some  years  he  conducted  the 
Symphonic  Society  and  the  Musical  Union 
(choral) .     His  works  include  the  following  : 

Orchestral  — 

'  Maroh-Fantasie,'    op.    8   (1879,    Pittsburgh,    also 

Chicago  under  Scheel). 
'Thusnelda,'  op.  10  (1882,  Baltimore,  1884,  Pitts- 
burgh, 1885,  Boston,  1891,  Brooklyn). 
Suite  No.  1,  'The  Falconer,'  op.  31  (1893,  Scranton). 
Festival    March,    op.    32    (1891,    Pittsburgh,    and 

often). 
Dedication   March,    op.   43,    for   the    opening   of 
Carnegie  Music  Hall  and  Institute  and   founded 
on  the  tones  a-c,  Mr.  Carnegie's  initials  (1895, 
and  often) . 
Suite   No.   2,   op.   47    (in  part   1898,   Omaha    Ex- 
position, entire  1915,  Pittsburgh). 
Prelude  to  Goethe's   'Faust,'   op.   48    (prize  from 
Pittsburgh   Art   Society,    1898,   and    given   then 
and  later). 
'American  Ode,'  op.  81   (1913,  Pittsburgh  Expo- 
sition, also  New  York. 
'At  Twilight,'  op.  59    (Pittsburgh). 
Lyric  Suite,  op.  82,  for  strings  (1916,  Pittsburgh). 
'Love-Song,'    op.    23,    from    Amelie    Rives    (1889, 

Pittsburgh  and  Detroit). 
'Hero  and  Leander,'  op.  44,  from  Tennyson  (1897, 

Pittsburgh). 
'Love-Visions'  op.  80,  words  by  composer  (1913, 

Pittsburgh  Exposition). 
'Spring- Wanderings,'  op.  82  (1918,  Bangor). 
'Verzweiflung,'  op.  51,  from  Carl  Hepp. 
Festival  Music,  op.  9. 
Symphonic  Ode  to  BjTon,  op.  35. 
Symphonic  Poem,  'Sigrid,'  op.  50. 
Concerto  in  D  minor,  op.  52,  for  violin  and  or- 
chestra. 
Chamber  — 

Piano-Quartet  No.  1,  op.  21  (1887,  Pittsburgh). 

Piano-Trio,  op.  29  (1890,  Pittsburgh). 

Quartet,    op.    33,    for   strings    (1891,    Pittsburgh, 

and  later). 
Piano-Quartet  No.  2,  op.  40  (1896,  Pittsburgh). 
Serenade-Trio,  op.  61  (1907,  Pittsburgh). 
Trio  in  D,  op.  83  (1919,  Lockport). 
Fantasie,  op.  15,  for  violin  and  piano. 
Romanze  and  Melodie,  op.  17,  for  violin  and  piano. 
Novelette,  op.  26,  for  violin  and  piano. 
Suite  No.  1,  op.  36,  for  violin  and  piano. 
Suite  No.  2,  op.  79,  for  violin  and  piano. 
Albumblatt,  op.  24,  for  'cello  and  piano. 
Cavatina,  'Devotion,'  op.  39,  for  'cello  and  piano. 
Piano  — 

'Valse  Caprice,'  op.  5. 
Nocturne,  op.  7. 
Sonett,  op.  13. 
'Eros,'  op.  27. 

'Exultation'  and  'Lamentation,'  op.  37. 
12  Fantasy-Pieces,  op.  38. 
Suite,  op.  40. 
Organ  — 

Preludes  in  A-flat  and  D-flat. 
Postlude  in  D  minor. 
Pastorale,  op.  62. 

Exaltation,  Nocturne  and  Epigrams,  op.  77. 
Song-sets  — 

'Among  Flowers,'  op.  28. 


ARTHUR  FOOTE 


FOLEY 


FOOTE 


207 


Album  of  Lyrics,  op.  53. 
Five  Songs,  op.  57. 
'Tristram  and  Iseult,'  op.  60. 
Greek  Love-Songs,  op.  63. 
Garland  of  Songs,  op.  64. 
Four  Love-Songs,  op.  65. 
Psalms  13  and  23,  op.  66. 
Child-Lyrics,  op.  67,  from  Stevenson. 
Second  Album  of  Lyrics,  op.  69. 
Wreath  of  Songs,  op.  70. 
14  Selected  Songs,  op.  78. 


[R.6  ] 


FOLEY,  ALLAN  JAMES  (1835-1899). 
See  Vol.  ii.  70,  and  Register,  7. 

FOLK-MUSIC.  Of  indigenous  folk-music 
the  most  unmistakable  case  in  America  is 
that  of  the  Indians.  Somewhat  less  clear  is 
that  of  the  Negroes,  which  doubtless  embodies 
elements  derived  from  contact  with  white 
races.  To  a  different  class  belong  numerous 
forms  that  are  in  some  measure  transplantings 
from  Europe.  It  has  recently  been  brilliantly- 
shown  that  in  the  highlands  of  Kentucky, 
Tennessee  and  the  Carolinas  is  a  large  amount 
of  English  folk-music  that  was  originally 
introduced  in  the  late  ISth  century  or  early 
19th  and  has  been  preserved  with  modifications 
and  extensions.  Somewhat  parallel  to  this 
is  the  Creole  music  of  the  lower  Mississippi 
region,  which  is  distinctively  French  in  deri- 
vation. This,  however,  has  been  much  in- 
fluenced by  contact  with  artistic  music  in 
various  forms.  Into  the  Northwest  has  much 
more  recently  been  brought  a  large  amount 
of  imported  folk-music  from  Scandinavian 
sources.  In  every  case  where  immigrants 
of  a  particular  nationality  have  settled  in 
considerable  numbers  it  is  likely  that  a  certain 
amount  of  folk-music  will  be  found  and  will 
continue  in  use  for  a  long  time.  The  essen- 
tially composite  nature  of  the  population  of 
the  United  States  therefore  favors  the  entry 
and  perpetuation  of  varied  types  of  folk-music. 
That  same  compositeness  has  more  and  more 
rendered  impossible  any  general  type  that  is 
distinctively  'American.'  The  nearest  ap- 
proach to  such  a  type  —  and  that  entirely 
one-sided  and  really  untypical  —  are  the 
emotional  religious  songs  of  the  'Gospel 
hymn'  variety  or  the  transient  crops  of  war- 
songs  at  one  or  two  periods. 

FOOTE,  ARTHUR  WILLIAM  (Mar.  5, 
1853,  Salem,  Mass.).  See  article  in  Vol.  ii.  71. 
He  was  organist  of  the  First  Unitarian  Church 
in  Boston  in  1878-1910,  and  president  of  the 
A.  G.  O.  in  1909-12.  As  a  player  he  has 
given  many  organ-  and  piano-recitals,  and 
appeared  frequently  in  chamber-ensemble. 
He  is  a  member  of  the  Institute  of  Arts  and 
Letters,  and  a  Fellow  of  the  American  Academy 
of  Arts  and  Sciences.  In  1919  Trinity  College 
gave  him  the  degree  of  Mus.D. 

Few  American  composers  have  won  such 
high    esteem.     The    uniformly    high    quality 


of  his  work  in  diverse  forms  has  been  coupled 
with  a  surprising  uniformity  of  success.  His 
orchestral  works  are  played  by  leading  or- 
chestras, his  chamber-music  has  become  a 
staple  in  American  programs,  his  organ-music 
is  everywhere  popular,  and  his  songs  are 
prized  alike  by  singers,  accompanists  and  audi- 
ences.    The  Art  of  Music  (Vol.  iv.  p.  340)  says  : 

'Of  his  compositions  as  a  whole  it  may  be  said 
that  they  are  astonishingly  original  in  an  age  which 
has  found  it  all  but  impossible  to  escape  imitation. 
He  is,  like  most  of  the  great  composers,  largely  self- 
taught,  and  yet  there  is  scarcely  a  trace  of  manner- 
isms, nor  —  what  is  even  more  remarkable  —  of 
the  mannerisms  of  others.  His  music  is  the  pure 
and  perfectly  formed  expression  of  a  nature  at  once 
refined  and  imaginative.  In  these  days  of  startling 
innovations,  the  sincerity  of  which  may  not  be 
unhesitatingly  trusted,  it  sounds  none  the  less 
spirited  because  it  is  unquestionably  genuine  and 
relatively  simple.  It  stands  forth  as  a  substantial 
proof  that  delicate  poetry  and  clear-cut  workman- 
ship have  not  yet  failed  to  charm.' 

On  Thanksgiving  Day  in  1914,  organists 
throughout  the  country,  by  concerted  arrange- 
ment, played  his  Festival  March  in  F  as  an 
expression  of  gratitude  for  his  recovery  from 
a  serious  illness  —  a  tribute  seldom  paid  to 
any  musician. 

The  list  of  his  most  important  works  is  as 
follows : 

For  Orchestra  — 

Overture,    'In    the    Mountains,'    op.    14    (1887, 

Boston). 
Prologue,   '  Franceses  da  Rimini,'   op.   24    (1893, 

Boston). 
Serenade  in  E,  op.  25,  for  strings  (1886,  Boston). 
Four  Character  Pieces  after  Omar  Khayydm,  op. 

48  (1912,  Boston). 
Suite  in  D,  op.  21,  for  strings  (1886,  Boston), 
Suite  in  D  minor,  op.  36  (1896,  Boston). 
Suite  in  E,  op.  63,  for  strings  (1910,  Boston). 
Concerto  for  'cello  and  orchestra  (1894,  Chicago). 
Chamber-Music  — 
String-Quartet  in  G  minor,  op.  4  (1885). 
Piano-Trio  in  C  minor,  op.  6  (1884). 
Three  Pieces  for  violin  and  piano,  op.  9  —  'Mor- 

gengesang,'  Menuet,  Romance. 
Sonata  in  G  minor,  op.  20,  for  violin  (1890,  Kneisel). 
Piano-Quartet,  op.  23  (1891,  Kneisel  Quartet). 
'  Aubade  Villageoise,'  op.  31,  for  oboe  and  piano  — 

M6lodie,  Pastorale. 
String-Quartet  in  E,  op.  32  (1894,  Kneisel  Quartet). 
Romanza  for  'cello  and  piano,  op.  33. 
Piano-Quintet,  op.  38  (1898,  Kneisel  Quartet). 
Melody  for  violin  and  piano,  op.  44. 
Piano-Trio  in  B-flat,  op.  65  (1909,  Kneisel  Quartet). 
Ballade  for  violin  and  piano,  op.  69. 
String-Quartet  in  D,  op.  70. 
Canzonetta  and   'A  Song  of    Sleep,'    op.    74,   for 

violin  and  piano. 
'L6gende,'  op.  75,  for  violin  and  piano. 
Sonata  for  'cello  and  piano,  op.  76. 
Aubade  for  'cello  and  piano. 
Choral  Works  with  Orchestra  — 

'The   Farewell   of   Hiawatha,'    op.     11,    for    men's 

voices  (1886,  Boston). 
'The  Wreck  of  the  Hesperus,'  op.  17  (1888,  Boston). 
'The  Skeleton  in  Armor,'  op.  28  (1893,  Boston). 
'  Bedouin-Song,'  for  men's  voices. 


208 


FORBUSH 


FORSYTH 


'In  the  Gateway  of  Ispahan,'  tor  women's  voices 
(1914,  Boston). 
Choral  Works  a  cappella  or  with  Piano  — 

For  men's  voices:  'If  doughty  deeds,'  'Into  the 
silent  land,'  'I  love  my  love,'  'Bedouin-Songs,' 
'Recessional,'  'The  Munster  Fusileers,'  'Bugle- 
Song,'  'Crossing  the  Bar,'  'A  Song  of  April,' 
'The  Miller's  Daughter,'  'Farewell  to  Summer.' 

For  women's  voices:  'To  Daffodils,'  'Lygeia' 
(cantata).  Six  Flower-Songs,  op.  49,  'The  Sky- 
lark' (duet),  'Where  shall  I  find  a  white  rose 
blooming?'  (duet),  'The  Green  of  Spring,' 
'Gray  Twilight,'  'Through  the  Rushes,'  'To- 
morrow,' 'The  little  creek  goes  winding,'  'Sigh 
no  more,  ladies.' 

For   mixed   voices:     'The   Wind   and   the   Day,' 
'Scythe-Song,'    'The    Jumblies,'    'Vita    nostra 
plena  bellis,'  op.  47  (motet.) 
Songs  — 

'Go,  lovely  rose,'  'Elaine's  Song,'  'I'm  wearing 
awa','  'Love  me,  if  I  live,'  'The  Eden  Rose,' 
'On  the  Way  to  Kew,'  'Irish  Folk-Song,'  'There 
sits  a  bird,'  'Roses  in  Winter,'  'I  know  a  little 
garden-path,'  'Requiem,'  'A  Song  of  Four 
Seasons,'  'Constancy,'  'Once  at  the  Angelus,' 
'In  Picardie,'  'The  roses  are  dead,'  'Bisesa's 
Song,'  'Ashes  of  Roses,'  'Persian  Song,'  from  the 
'Rubaiyat'  (also  with  orchestra),  'Tranquillity,' 
'  Lilac-Time,' '  O  swallow,  flying  south,' '  Memnon ' 
—  and  about  100  others.  Duets:  'A  Song  from 
the  Persian'  and  'The  Voice  of  Spring,'  for 
soprano  and  alto :  'Were  all  the  world  like  you,' 
for  soprano  and  tenor. 
Church  Music  — 

'Mount  Carmel,'  for  women's  voices. 

'Hear  my  Prayer,  O  God,'  for  men's  voices. 

Various  Te  Deums  and  other  canticles,  and  about 

25  anthems,  of  which  the  best  known  are  'Still, 

still  with  Thee,'  'God  is  our  Refuge,'  'And  there 

were  shepherds,'  and  'Awake,  thou  that  sleepest.' 

For  Organ  — 

Of  about  20  works  the  best-known  are  a  Festival 
March,  Allegretto,  Pastorale,  Nocturne,  Toccata 
and  Suite  in  D,  op.  54.     (See  article  by  H.  V. 
Milligan  in  'The  Diapason,'  April,  1919). 
For  Piano  — 

Suite  in  D  minor,  op.  15. 

Suite  in  C  minor,  op.  30. 

Three  Pieces  for  left  hand  alone,  op.  37. 

Five  Poems  after  Omar  Khayydm,  op.  41. 

About  30  other  works. 

He  has  edited  numerous  educational  works 
for  the  piano  and  published  (with  W.  R.  Spald- 
ing) Modern  Harmony,  1905,  and  Modtilafion 
and  Related  Harmonic  Questions,  1920.    [  R.6  ] 

FORBUSH,  ABIJAH.  See  Tune-Books, 
1806. 

FORMES,  KARL  JOHANN  (Aug.  7,  1816, 
Miilheim-on-the-Rhine,  Germany  :  Dec.  15, 
1889,  San  Francisco) .  See  article  in  Vol.  ii.  88. 
His  first  American  appearance  was  on  Dec.  2, 
1857,  at  the  New  York  Academy  of  Music. 
He  continued  widely  active  for  the  next 
twenty  years.  In  1882  he  married  Pauline 
Greenwood,  who  had  been  his  pupil  in  Phila- 
delphia. His  memoirs  were  published  in  1888 
as  Aus  meinem  Kunst-  und  Buhnenlebcn,  and 
he  also  wrote  a  Method  of  Singing,  3  vols. 
Shortly  before  his  death  he  appeared  in  his 
favorite  part  of  Don  Basilio  (in  'II  Barbiere 


di  Siviglia')  at  the  Bijou  Theatre  in  San 
Francisco.  His  vocal  compass  was  from 
low  C  to  F  above  the  staff.  See  Upton, 
Musical  Memories,  pp.  132-3.     [  R.4  ] 

FORNIA-LABEY,  RITA,  nee  Newman 
(July  17,  1878,  San  Francisco),  began  to  sing 
at  fifteen,  studied  with  local  teachers,  and 
prepared  for  grand  opera  on  the  advice  of 
Scalchi  and  Emil  Fischer.  After  a  year's 
study  in  Berlin  with  Nicklass-Kempner  she 
was  coloratura-soprano  for  the  Hamburg 
Stadt-Theater  for  two  years  and  then  went  to 
Paris  for  lessons  with  Jean  de  Reszk6.  She 
came  to  America  in  1906  to  join  Savage's 
English-singing  company,  and  since  1908  has 
been  with  the  Metropolitan  Opera  House. 
She  has  also  appeared  at  Covent  Garden. 
Her  repertory  includes  Elisabeth,  Venus, 
Ortrud,  Sieglinde,  Gutrune,  Amneris,  Carmen, 
Rosina,  Nedda,  Leonora,  Woglinde  (in  'Das 
Rheingold'  and  'Die  Gotterdiimmerung'), 
and  first  Flower-Maiden  in  'Parsifal.'  In 
1910  she  married  James  P.  Labey,  of  the  Isle 
of  Jersey.     [  R.9  ] 

FORSYTH,  CECIL  (Nov.  30,  1870,  Green- 
wich, England),  was  educated  at  Cranbrook 
and  Edinburgh  University  (M.  A.,  biu"sar  and 
classical  prizeman),  and  studied  at  the  Royal 
College  of  Music  in  London  with  Stanford 
(composition)  and  Parry  (musical  history). 
For  a  time  he  played  viola  in  the  Royal 
Philharmonic  and  Queen's  Hall  Orchestras, 
and  was  also  active  as  conductor.  Since  the 
end  of  1914  he  has  lived  in  New  York.  He 
has  composed  the  operas  'Westward  Ho' 
and  'Cinderella';  two  comic  operas  (with 
Alfred  Scott-Gatty) ,  produced  at  the  Savoy 
and  Aldwych  Theatres,  London ;  a  viola- 
concerto  in  G  minor  and  a  'Chant  Celtique' 
for  viola  and  orchestra,  both  performed  by 
E.  Ferir  under  Wood's  direction ;  four  orches- 
tral studies  from  Les  Miserahles,  played  by 
the  Queen's  Hall  Orchestra ;  a  setting  of 
Keats'  'Ode  to  a  Nightingale'  for  baritone 
and  orchestra ;  two  masses ;  chamber-music ; 
songs  and  part-songs.  He  has  also  written 
Music  and  Nationalism,  1911,  an  extensive 
treatise  on  Orchestration,  1914,  a  readable 
History  of  Music  (with  Stanford),  1916,  and 
Choral  Orchestration,  1920.  He  wrote  on  '  The 
English  Musical  Renaissance'  in  Vol.  iii.  of 
The  Art  of  Music  (1915).     [  R.IO  ] 

FORSYTH,  WESLEY  OCTAVIUS  (Jan. 
26,  1803,  near  Toronto,  Ont.),  after  pre- 
liminary training  in  Toronto,  studied  with 
Zwintscher,  Krause  and  Jadassohn  in  Leipzig 
and  with  Epstein  in  Vienna.  Since  1892  he 
has  worked  in  Toronto  as  pianist  and  teacher, 
for  a  time  as  director  of  the  Metropolitan 
School  of  Music,  but  recently  as  private 
teacher.  His  published  compositions,  about 
sixty  altogether,  are  songs  and  piano-pieces. 


FOSTER 


FRANKLIN 


209 


A  suite  for  orchestra,  a  string-quartet  and 
many  smaller  works  are  still  in  manuscript. 
He  has  done  much,  by  writing  and  teaching, 
for  the  development  of  piano-music  in  Canada. 
[  R.8  ] 

FOSTER,  FAY,  who  was  born  in  Leaven- 
worth, Kan.,  began  her  public  musical  work 
early,  being  organist  at  twelve,  accompanist  for 
the  Sherwood  Concert  Company  at  seventeen 
and  head  of  a  music-school  in  Onarga,  111., 
at  nineteen.  At  the  Sherwood  Music  School 
in  Chicago  she  studied  singing  with  Mme. 
Dove-Boitte,  piano  with  Sherwood  and 
theory  with  Gleason.  For  twelve  years  she 
was  in  Europe,  taking  piano  under  Reisenauer 
in  Leipzig,  Menter  and  Schwartz  in  Munich, 
and  Rosenthal  in  Vienna,  singing  at  Cologne, 
Munich,  Leipzig  and  Berlin,  and  composition 
under  Jadassohn.  Since  1911  she  has  lived 
in  New  York.  Her  waltz  'Die  Woche'  won 
a  prize  over  many  competitors  in  Berlin,  and 
she  holds  prizes  aLso  for  songs,  women's  cho- 
ruses and  piano-pieces.  Of  the  songs  45  are 
published,  with  9  part-songs.     [  R.8  ] 

FOSTER,  STEPHEN  COLLINS  (July  4, 
1826,  Pittsburgh  :  Jan.  13,  1864,  New  York). 
See  article  in  Vol.  ii.  90-1.  Interest  in 
his  music  and  his  unfortunate  life  does  not 
diminish.  It  is  possible  that  investigations 
now  being  made  may  shed  light  upon  his 
story  and  dissipate  some  of  the  shadows 
across  it.  Noteworthy  books  are  Biography, 
Songs  arid  Musical  Compositions  of  Stephen 
C.  Foster,  1896,  by  Morrison  Foster,  his 
brother,  and  Catalogue  of  First  Editions  of 
Stephen  C.  Foster,  1915,  by  Walter  R.  Whit- 
tlesey and  O.  G.  Sonneck,  of  the  Library  of 
Congress.  A  fresh  biography,  by  Harold  V. 
Milligan  of  New  York,  appeared  in  1920. 
The  following  articles  or  references  have 
value  —  article  by  Dr.  Martin  Darkow  of 
Philadelphia  in  'Die  Musik,'  4te  Jahrg.,  Heft 
16 ;  article  by  T.  Carl  Whitmer  of  Pittsburgh 
in  'The  Musician,'  Dec,  1913;  article  by 
Cesar  Saerchinger  of  New  York  in  'The 
International,'  Feb.,  1914 ;  and  simamary  in 
Elson's  History  of  American  Music,  pp.  134-9. 

Foster's  father  was  a  prominent  business 
man  who  came  to  what  is  now  Pittsburgh 
from  Virginia,  and  his  mother  was  of  a  well- 
known  Maryland  family.  By  descent  and 
temperament  he  was  a  Southerner,  and  this 
explains  his  keen  sympathy  with  the  sentiment 
and  form  of  the  songs  and  music  of  the  plan- 
tations. The  entries  in  the  Library  of  Con- 
gress Catalogue  number  about  200,  including 
songs,  duets,  songs  with  chorus,  a  collection 
of  instrumental  pieces  and  arrangements 
called  The  Social  Orchestra,  1854,  and  the  many 
sacred  tunes  that  Foster  contributed  to 
Horace  Waters'  Athenceum  Collection,  1863. 
If  the  dates  of  publication  be  collated,  it  will 


be  seen  that  his  early  period  (1844-55)  was 
most  productive  in  1850-51,  while  the  later 
period  (1857-64)  yields  most  in  1861-63. 
It  is  to  the  former  that  belong  almost  all  the 
melodies  by  which  he  is  now  best  known. 

The  house  in  Pittsburgh  where  Foster  was 
born  was  bought  by  James  H.  Park  and  in 
1914  presented  to  the  city,  which  now  main- 
tains it  as  a  Foster  museum.  Foster's 
daughter,  Mrs.  Marion  Foster  Welsh,  lives 
in  Pittsburgh.     [  R.4  ] 

FOUCARD.     See  Register,  2. 

FOUNDATION  FOR  NEEDY  MU- 
SICIANS OF  THE  UNITED  STATES. 
See  Kneisel,  Franz. 

FOX,  F^LIX  (May  25,  1876,  Breslau, 
Germany),  came  to  Boston  when  a  child. 
He  was  trained  there  and  in  New  York,  from 
1892  also  at  Leipzig,  where  he  studied  piano 
with  Reinecke  and  composition  with  Jadas- 
sohn. Winning  the  Helbig  prize,  he  continued 
under  Philipp  at  Paris  for  two  years.  At 
Leipzig  he  made  his  debut  in  1896,  and  at 
Paris  in  1897,  bringing  out  some  of  Mac- 
Dowell's  music.  Returning  to  Boston  in 
1897,  he  concertized  for  a  year,  playing  with 
leading  orchestras  and  giving  many  recitals. 
In  1898,  with  Carlo  Buonamici,  he  established 
the  Fox-Buonamici  School  in  Boston,  which 
they  still  conduct.  He  is  an  Officier  d'Aca- 
demie.     [  R.8  ] 

FRADKIN,  FREDRIC  (April  2,  1892, 
Troy,  N.  Y.,  of  Russian  parents),  began 
violin-study  when  only  five,  and  at  nine 
appeared  as  soloist  with  the  American 
Symphony  Orchestra.  His  teachers  in  New 
York  were  Jarrow,  Schradieck,  Bendix,  Franko 
and  Lichtenberg.  In  1905  he  went  to  Paris 
and  studied  first  with  G.  Remy  and  from  1907 
in  Lefort's  class  at  the  Conservatory.  Here 
he  won  first  prize  in  1909.  In  1909-10  he 
was  concertmaster  of  the  Bordeaux  Opera 
Company,  and  in  1910-11  of  the  Louis  Ganne 
Orchestra  at  Monte  Carlo.  After  some 
study  with  Ysaye  he  returned  to  America, 
making  his  debut  in  recital  in  New  York  on 
Jan.  10,  1911.  He  toured  England  in  1911-12 
and  1913-14,  spending  the  intervening  year 
as  concertmaster  of  the  Vienna  Konzertverein, 
In  1914-15  he  was  concertmaster  of  the 
Russian  Symphony  Orchestra  in  New  York, 
in  1915-17  of  the  Diaghilev  Ballet,  and  in 
1918-19  of  the  Boston  Symphony  Orchestra  — 
the  first  American  to  hold  this  post.     [  R.9  ] 

FRAEMCKE,  AUGUST  (b.  1870).  See 
Register,  9. 

FRANCIS,  W^ILLIAM  (1763-1827).  See 
Register,  2. 

FRANKLIN,  BENJAMIN  (Jan.  17,  1706, 
Boston  :  Apr.  17,  1790,  Philadelphia).  See 
articles  in  Vol.  ii.  103-4,  297-8.  As  Son- 
neck  has   brought   out  in   his   striking  essay 


210 


FRANKO 


FREMSTAD 


on  'Franklin's  Musical  Side'  in  his  Suum 
Cuique  (1916),  Franklin  had  many  contacts 
with  music  besides  his  organization  of  the 
musical  glasses  into  a  practical  instrument. 
As  a  printer  he  probably  had  some  connection 
with  the  early  engraving  of  music  in  America. 
He  was  apprenticed  to  his  brother  James  in 
Boston  at  the  time  when  Walter's  Grounds 
and  Rules  of  Musick  came  out  in  1721.  At 
his  own  shop  in  Philadelphia  he  issued  several 
reprints  of  Watts'  Psalms  (1729,  '41),  Hymns 
(1741,  '42)  and  Divine  and  Moral  Songs  for 
Children  (1737,  '47),  though  none  of  these 
books  contained  music.  Similarly,  he  printed 
Beissel's  Gottliche  Liebes-  und  Lobestdne  in 
1730  —  the  first  German  book  in  America  — 
and  his  Vorspiel  der  Neuen  Welt  in  1732,  both 
collections  of  poetry.  But  in  1730  he  also 
published  Daniel  Warner's  The  Singing- 
Master's  Guide  to  his  Scholars,  which  involved 
some  music-printing.  He  was  still  in  Phila- 
delphia, though  deeply  engaged  in  public 
affairs,  when  the  issue  of  American  collections 
of  tunes  began  about  1760.  There  is  reason 
to  suppose,  as  Sonneck  shows,  that  in  1759, 
while  on  a  trip  to  England,  he  heard  'The 
Messiah'  on  Apr.  6,  1759,  when  Handel  led 
for  the  last  time.  He  was  an  expert  guitar- 
player,  fond  of  vocal  and  instrumental  music 
generally,  acquainted  with  considerable  musical 
literature  of  the  time,  and  wrote  acutely  and 
sympathetically  to  Lord  Kames  (1765)  and 
others  upon  musical  aesthetics.     [  R.l  ] 

FRANKO,  NAHAN  (b.  1861).  See  Regis- 
ter, 6. 

FRANKO,  SAM  (Jan.  20,  1857,  New  Or- 
leans), was  educated  in  Germany  and 
France,  studying  violin  with  Joachim  in 
Berlin,  Vieuxtemps  and  Leonard  in  Paris,  and 
composition  with  Alexis  HoUaender  in  Berlin. 
He  made  his  debut  at  Breslau  in  1867  and  in 
New  York  in  1869.  The  years  1871-78  were 
spent  in  study  and  concertizing  in  Germany, 
and  1878-1880  in  Paris,  with  many  concerts 
at  the  Salle  Pleyel.  From  1880  he  made  New 
York  his  headquarters.  He  toured  as  soloist 
and  first  violin  with  the  Mendelssohn  Quintette 
Club  of  Boston ;  was  member  and  later 
(1884-91)  concertmaster  of  Thomas'  Or- 
chestra; was  solo  viola  with  the  New  York 
Philharmonic  Society;  and  in  1881-1897 
gave  chamber-music  concerts  at  Steinway 
Hall  and  the  Aschenbroedel  Club.  In  1900- 
1909  he  gave  orchestral  concerts  of  'Old 
Music'  in  New  York,  providing  the  first  hear- 
ings in  America  of  many  works  from  the  17th 
and  18th  centuries.  These  programs  he  con- 
tinued in  1910-14  in  Berlin,  where  he  also 
taught  advanced  violin-classes  and  led  the 
orchestra-class  at  the  Stern  Conservatory. 
He  returned  to  New  York  in  1915,  resumed 
his  concerts  of  'Old   Music,'   and   conducted 


performances  at  the  Park  Theater  by  the 
Society  of  American  Singers.  For  one  season 
he  was  concertmaster  at  the  Manhattan  Opera 
House,  and  also  for  the  Russian  Ballet  under 
Diaghilev.  Prominent  among  his  pupils  are 
Emily  Gresser,  Fredric  Fradkin,  Jacques 
Gordon  and  Dora  Becker.  His  published 
compositions  for  violin  and  piano  are  'Medi- 
tation,' 'Lullaby,'  'Valse  Gracieuse'  and 
'Mazurka  de  Concert'  (Schuberth) ;  and 
transcriptions  for  violin  and  piano,  two 
violins,  'cello  and  piano,  and  string-orchestra, 
including  many  rare  18th-century  works 
(Schirmer,  Carl  Fischer,  Jungnickel,  Ries  and 
Erler).  Unpublished  are  a  Polonaise  for 
violin  alone,  a  'Gypsy  March'  for  orchestra, 
and  piano-pieces.     [  R.5  ] 

FRANOSCH,  ADOLPH  (1830-1880).  See 
Register,  6. 

FREDERIKSEN,  FREDERIK  CHRIS- 
TIAN (b.  1869).     See  Register,  10. 

FREEMAN,  EDWARD  HENDEE  (b. 
1890).  See  Colleges,  3  (Muskingum  C,  Ohio). 
p  FREER,  ELEANOR,  n6e  Everest  (May  14, 
1864,  Philadelphia),  was  the  daughter  of 
Cornelius  Everest,  who  was  a  musical  theorist. 
She  studied  singing  with  Marchesi  and  dic- 
tion with  Godard  in  Paris.  After  marrying 
Archibald  E.  Freer  of  Chicago  in  1891  she 
pursued  theory  under  Ziehn.  She  did  not 
begin  publishing  until  1902,  but  was  then 
already  well-known  as  a  song-composer.  She 
has  written  some  140  songs,  of  which  a  large 
part  are  published.  Her  op.  22,  a  song-cycle 
for  medium  voice,  comprises  the  entire  Sonnets 
from  the  Portuguese  of  Mrs.  Browning.  Of 
these  Ziehn  said  :  '  It  is  a  colossal  work.  It 
is  marvelous  enough  that  such  sentiments 
could  be  poetically  expressed  forty-four  times 
by  one  person,  and  more  so  that  another  could 
place  these  wonderful  sonnets  in  a  musical 
setting,  and  of  the  highest  order.'  She  has 
also  published  a  number  of  trios  and  quartets 
for  men's,  women's  or  mixed  voices,  and  a 
group  of  piano-pieces.  During  the  war  she 
was  a  leader  in  charitable  and  relief  organi- 
zations in  Chicago,  and  was  founder  and 
treasurer  of  the  Chicago  Hospital  Foundation 
at  Paris.     [  R.8  ] 

FREMSTAD,  OLIVE  NAYAN  (1870?, 
Stockholm,  Sweden),  was  the  daughter  of 
musical  parents,  living  in  Christiania,  Nor- 
way, until  she  was  twelve,  when  the  family 
moved  to  Minnesota.  She  early  began 
piano-study,  appearing  in  public  at  ten, 
and  at  sixteen  sang  in  church-choirs.  In 
1890  she  came  to  New  York,  supported 
herself  by  accompanying,  giving  piano- 
lessons  and  singing  in  church,  meanwhile 
studying  voice  with  F.  E.  Bristol.  In  1893 
she  went  to  Berlin,  where  she  studied  for 
a  year  and  a  half  with  Lilli  Lehmann.     Her 


FRENCH 


FRIES 


211 


d6but  was  made  as  Azucena  in  'II  Trovatore' 
at  Cologne  in  1895.  In  1896  she  sang  at 
Bayreuth,  and  engagements  in  Germany  and 
Holland  followed.  In  1897-1900  she  sang 
regularly  at  the  Cologne  opera,  and  filled 
guest-engagements  at  Covent  Garden  (first 
appearing  as  Venus  in  '  Tannhauser' ) ,  Am- 
sterdam, Antwerp  and  Vienna.  She  was 
at  the  Royal  Opera  in  Munich  in  1900-03, 
and  made  her  American  debut  at  the  Metro- 
politan Opera  House  in  1903  as  Sieglinde  in 
'Die  Walkiire.'  She  sang  for  eleven  seasons 
at  the  Metropolitan,  and  since  1914  has  made 
concert-  and  opera-tours.  Her  successes  have 
been  made  as  Carmen  and  in  all  the  leading 
Wagnerian  roles.  She  created  the  title-role 
in  Strauss'  'Salome'  at  the  Paris  and  New 
York  performances,  and  in  Gluck's  '  Armide'  in 
New  York.  She  married  Edson  Sutphen  of  New 
York  in  1906,  was  divorced  in  1911,  and  married 
Harry  Lewis  Brainerd  in  1916.     [  R.7  ] 

FRENCH,  JACOB  (1754-  ?  ).  See  Tune- 
Books,  1790. 

FRENCH  OPERA  HOUSE,  THE,  in  New 
Orleans,  was  opened  in  December,  1859,  and 
was  long  famous  as  the  oldest  opera-house 
in  the  United  States.  It  was  destroyed  by 
fire  on  Dec.  4,  1919. 

FREUND,  JOHN  CHRISTIAN  (Nov.  22. 
1848,  London),  was  educated  at  the  London 
City  School,  Oxford  and  London  Universities. 
While  at  Oxford  he  edited  'The  Dark  Blue 
Magazine,'  and  his  play  'The  Undergraduate' 
was  produced  at  the  Queen's  Theatre,  London. 
He  came  to  New  York  in  1871.  He  became 
editor  of  'The  Musical  and  Dramatic  Times,' 
and  ' Music  and  Drama'  in  1885,  of  the  Dolge- 
ville  (N.  Y.)  'Herald'  in  1891-93,  and  since 
1893  of  'The  Music  Trades,'  'Musical 
America,'  and  'The  Piano  and  Organ  Pur- 
chaser's Guide.'  In  1913  he  began  a  propa- 
ganda for  'the  musical  independence  of  the 
United  States,'  based  on  the  expenditure,  at 
that  time,  of  over  $600,000,000  annually  on 
music  and  musical  industries,  on  the  superior 
qualities  of  American  musical  instruments, 
and  on  the  unreasonable  notion  that  students 
must  go  to  Europe  for  a  complete  musical 
education.  He  has  made  innumerable 
speeches  on  these  topics  throughout  the 
country.  In  1917  he  established  the  Musical 
Alliance  of  the  United  States,  which  aims  at 
the  recognition  of  music  as  a  vital  factor  in 
national,  home  and  civic  life,  the  extension  of 
music-study  in  public  schools,  the  promotion  of 
American  music,  and  the  establishment  of  a 
National  Conservatory  of  Music.     [  R.7  ] 

FREY,  ADOLF  (b.  1865).     See  Register,  8. 

FRICKER,  HERBERT  AUSTIN  (b.  1868). 
See  Register,  10. 

FRIEDBERG,  CARL  RUDOLF  HER- 
MANN (b.  1872).     See  Register,  10. 


FRIEDHEIM,  ARTHUR  (Oct.  26,  1859, 
Petrograd,  Russia).  See  article  in  Vol.  ii. 
110.  His  first  sojourn  in  America  was  in 
1891-95,  when  he  made  tours  under  Steinway 
auspices.  In  1900-01  he  taught  at  the 
Chicago  Musical  College.  Leaving  London 
in  1908,  he  spent  two  years  in  Munich.  In 
1910  he  gave  recitals  in  the  United  States 
and  Mexico,  in  1911  took  part  in  many  Liszt 
centenary  concerts  in  Germany,  Hungary 
and  America,  and  in  1912-13  made  concert- 
tours  in  Canada.  Since  1914  he  has  lived  in 
New  York.  His  overture  to  Lermontoff's 
'A  Hero  of  our  Times'  was  performed  in 
Petrograd  in  1877.  The  opera  'The  Last 
Days  of  Pompeii'  has  not  been  produced. 
In  1880  the  piano-concerto  in  B  was  first 
performed  at  Weimar,  Liszt  playing  the 
orchestral  parts.  In  1880  he  orchestrated 
and  conducted  at  a  festival  in  Sondershausen 
the  'Vier  ungarische  Portrait-Skizzen '  by 
Liszt,  of  which  the  score  is  lost.  In  1890  his 
concerto  in  B-flat  was  performed  under 
Mottl  in  Carlsruhe  and  hissed,  but  success- 
fully given  in  New  York,  Leipzig  and  Munich. 
The  American  March  'E  Pluribus  Unum' 
was  composed  in  1894,  but  is  not  yet  per- 
formed. In  1896  his  arrangement  of  Liszt's 
2nd  Rhapsody  for  piano  and  orchestra  was 
badly  and  unsuccessfully  performed  at  Leipzig. 
In  February,  1904,  his  opera  'Die  Tanzerin' 
was  successfully  given  at  Cologne,  Otto  Lohse 
conducting;  in  1906  it  was  twice  badly 
performed  at  Leipzig.  Unfinished  operas 
are  'The  Christians'  (Nero)  and  'Giulia 
Gonzaga.'  The  piano-score  of  'Die  Tanzerin' 
is  printed  at  Leipzig.  He  has  written  much 
for  periodicals,  and  is  engaged  on  a  commen- 
tary to  the  biographies  of  Liszt.     [  R.8  ] 

FRIES,  AUGUST  (1822-  ?  ).  See  Regis- 
ter, 4. 

FRIES,  WULF  CHRISTIAN  JULIUS 
(Jan.  10,  1825,  Garbeck,  Holstein  :  Apr. 
19,  1902,  Roxbury,  Mass.),  was  largely  self- 
taught.  In  youth  he  played  a  number  of 
orchestral  instruments,  but  finally  devoted 
himself  to  the  'cello.  From  1842  he  played 
in  the  theater-orchestra  at  Bergen,  and  at 
Ole  Bull's  concerts.  In  1847  he  came  to 
Boston  with  his  brother  August.  When  the 
Mendelssohn  Quintette  Club  was  organized 
in  1849  he  was  the  'cellist,  continuing  till 
1870  and  visiting  nearly  every  considerable 
town  in  the  country.  He  also  belonged  to 
the  Musical  Fund  Society  and  the  Harvard 
Musical  Association.  He  played  in  chamber- 
music  concerts  with  Rubinstein  and  von 
Billow,  but  after  1875  confined  himself  to 
teaching  and  to  concerts  in  New  England. 
The  impress  of  his  gracious  character  and  his 
sterling  musicianship  was  wide  and  perma- 
nent.    I  R.4  ] 


212 


FRIML 


FURSCH-MADI 


FRIML,  CHARLES  RUDOLF  (Dec.  7, 
1881,  Prague,  Bohemia),  was  educated  in  the 
Prague  schools  and  Conservatory,  studying 
piano  with  Jirdnek  and  composition  with 
Forster.  For  five  years  he  was  pianist  for 
Kubelik,  and  visited  the  United  States  with 
him  in  1901  and  1906.  In  1906  he  played  his 
own  piano-concerto  in  B  with  the  New  York 
Symphony  Society.  Since  1906  he  has  lived 
in  New  York,  largely  engaged  on  composition. 
His  'Christmas  Carol'  and  'Japanese  Ballet' 
were  produced  at  the  Court  Theater  in  Dres- 
den ;  the  comic  operas  first  produced  in  this 
country  are  'The  Firefly'  (1912,  Syracuse), 
'High  Jinks'  (1913,  Syracuse),  'Katinka'  (1915, 
Morristown,  N.  J.),  and  the  musical  comedy 
'You're  in  Love'  (1916,  New  Haven,  Conn.). 
His  compositions  for  piano,  violin  or  'cello  and 
piano,  and  songs  (Schirmer,  Schmidt)  number 
about  100,  and  find  much  acceptance.     [  R.9  ] 

tFRISKIN,  JAMES  (Mar.  3,  1886,  Glas- 
gow, Scotland).  See  article  in  Vol.  v.  640. 
On  Feb.  15,  1916,  he  made  his  New  York 
d6but  as  pianist,  playing  his  own  sonata  and 
an  unhackneyed  program.  To  the  list  of 
works  should  be  added  a  Sonata  in  G  for 
violin  and  piano,  and  a  Phantasy  in  F  minor 
for  piano  and  string-quartet. 

FROST,  RUFUS.     See  Tune-Books,  1805. 

FRY,  HENRY  S.  (Apr.  27,  1875,  Potts- 
town,  Pa.),  is  now  organist  at  St.  Clement's 
in  Philadelphia,  his  previous  positions  having 
been  at  St.  Paul's  (Reformed  Episcopal), 
the  Princeton  Presbyterian  Church  and  Holy 
Trinity  Memorial  Chapel.  He  has  given  over 
600  organ-recitals  at  conventions  of  the 
N.  A.  O.,  for  the  American  Organ-Players' 
Club  and  at  the  Drexel  Institute,  etc.  (includ- 
ing over  125  at  the  opening  of  new  organs). 
He  makes  a  specialty  of  teaching  organ,  and 
is  an  associate  of  the  A.  G.  O.  He  writes  for 
many  musical  publications,  and  is  an  officer  in 
various  associations  (president  of  the  N.  A.  O. 
in  1920).  His  compositions  are  'Siciliano'  and 
'Variations  on  a  Evening  Hymn,'  for  organ; 
Magnificat  and  Nunc  Dimittis  in  D;  'Voices 
of  the  Cross'  (Lenten)  ;  two  Christmas  carols; 
'The  Souls  of  the  Righteous,'  and  a  song, 
'Farewell.'     [  R.8  ] 

FRY,  WILLIAM  HENRY  (Aug.  10,  1813, 
Philadelphia  :  Sept.  21,  1864,  Santa  Cruz, 
West  Indies),  was  the  son  of  a  publisher. 
Though  largely  self-taught  in  piano-playing, 
he  had  lessons  in  theory  from  L.  Meignen,  a 
graduate  of  the  Paris  Conservatory.  At 
fourteen  he  composed  an  overture,  and  at 
twenty  won  a  gold  medal  for  another,  which 
was  played  by  the  Philadelphia  Philharmonic 


Society.  In  1845  he  composed  'Leonora,' 
which  is  often  spoken  of  as  the  first  American 
opera  of  importance.  It  was  given  in  Phila- 
delphia several  times  and  revived  (in  Italian) 
at  the  Academy  of  Music  in  New  York  in 
March,  1858.  In  the  interim  he  had  joined 
the  staff  of  the  New  York  'Tribune,'  and  in 
1846  had  gone  abroad  as  European  correspond- 
ent. He  spent  six  years  in  London  and  Paris, 
and  earned  the  friendship  of  Berlioz  and  other 
French  musicians.  On  his  return  he  became 
music-critic  and  editorial  writer  on  the  'Trib- 
une,' and  gave  lectures  on  musical  history. 
The  Jullien  Orchestra  played  four  of  his  over- 
tures and  a  symphony.  A  second  opera, 
'Notre  Dame  de  Paris,'  on  a  libretto  by  his 
brother  J.  R.  Fry,  was  brought  out  in  Phila- 
delphia in  1864  under  the  direction  of  Thomas. 
The  list  of  his  compositions  includes  the 
symphonies  'Santa  Glaus,'  'The  Breaking 
Heart,'  'Childe  Harold,'  and  'A  Day  in  the 
Country' ;  several  overtures  ;  a  Stabat  Mater, 
cantatas  and  songs.  Although  his  music  did 
not  long  survive,  his  influence  as  a  writer  and 
educator  was  marked  and  beneficial.     [  R.4  ] 

FRYSINGER,  J,  FRANK  (Apr.  7,  1878, 
Hanover,  Pa.),  from  1890  studied  organ  and 
harmony  with  F.  W.  Wolff  in  Baltimore,  from 
1898  piano  with  S.  C.  Engel  and  composition 
with  Kelley,  from  1900  piano  with  Burmeister, 
and  from  1903  organ  and  composition  with 
Kinder  in  Philadelphia  and  Wolstenholme  in 
London.  In  1909-11  he  was  organist  at  York, 
Pa.,  and  music-director  at  Hood  College  in 
Frederick,  Md.  In  1911-18  he  was  chief 
organ-teacher  at  the  University  School  of 
Music  in  Lincoln,  Neb.,  and  organist  at  the 
First  Presbyterian  Church,  where  he  gave 
many  recitals.  Since  1918  he  has  been  head 
of  the  organ  and  theory  work  at  Augustana 
College  in  Rock  Island,  111.  He  is  a  fellow 
of  the  Guild  of  Church  Organists  in  London, 
and  member  of  the  A.  G.  O  and  N.  A.  O.  He 
has  given  many  recitals  throughout  the 
country,  and  at  the  Jamestown  and  Panama 
Expositions.  He  has  published  about  100 
works  for  organ,  piano  and  voice.     [  R.9  ] 

FUHR,  HAYES  McGUIRE.  See  Col- 
leges, 3  (Hastings  C,  Neb.). 

FULLERTON,  CHARLES  ALEXANDER 
(b.  1861).     See  Register,  8. 

FULLERTON,  ROBERT  (b.  1867).  See 
Register,  9. 

FUNK,  JOSEPH.     See  Tune-Books,  1848. 

FURLONG,  ATHERTON  BERNARD  (b. 
1849).     See  Register,  6. 

FURSCH-MADI,  EMMY  (1847-1894). 
See  Register,  6. 


G 


GABERT,  ABEL  L.  See  Colleges,  1 
(Catholic  U.,  D.C.). 

GABLER,  ERNEST  (d.  1883).  See  Reg- 
ister, 4. 

GABRILOVITCH,  OSSIP  SALOMONO- 
VITCH  (Jan.  26,  1878,  Petrograd),  studied 
piano  at  the  Petrograd  Conservatory  under 
Rubinstein  and  in  Vienna  with  Leschetizky, 
and  composition  with  Navrdtil,  Liadov  and 
Glazunov,  making  his  debut  as  a  pianist  in 
Berlin  in  1896.  He  then  toured  in  Germany, 
France,  England,  Russia,  Holland  and  the 
United  States,  visiting  the  last  in  1900,  '01, 
'06,  '09,  '14,  '15  and  '16.  In  1909  he  married 
Clara  Clemens,  the  daughter  of '  Mark  Twain.' 
In  1904-14  he  lived  in  Munich,  conducting 
orchestral  concerts,  and  in  1907-18  he  con- 
ducted series  of  orchestral  concerts  in  New 
York.  Since  1918  he  has  been  conductor  of 
the  Detroit  Symphony  Orchestra.  Both  aa 
player  and  as  conductor  he  has  established 
himself  as  an  artist  of  the  first  rank. 

In  1912-13  he  gave  a  series  of  six  recitals 
in  Europe  to  illustrate  the  historical  develop- 
ment of  the  piano-concerto,  with  these  pro- 
grams : 


I.     Bach 
Mozart 
Beethoven 
II.     Beethoven 


III.     Mendelssohn 
Chopin 
Schumann 
Weber 
Rubinstein 
Tchaikovsky 
Liszt 
Brahms 


IV. 


VI.     Franck 

Saint-Saens 

Strauss 

Rachmaninov 


Concerto  in  G  minor 
"  in  D  minor 

"  in  C  minor 

Concerto  in  G 

in  E-flat 
Fantasia  with  Chorus 
Capriccio  Brillante 
Concerto  in  E  minor 
"  in  A  minor 

Concertstiick 
Concerto  in  D  minor 
"  in  B-flat  minor 

in  E-flat 
Concerto  in  D  minor 

in  B-flat 
Symphonic  Variations 
Concerto  in  C  minor 
Burlesque 
Concerto  in  C  minor 


In  1915-16  he  gave  another  series  of  six  his- 
torical recitals  in  New  York,  Boston  and  Chi- 
cago, with  programs  from  these  composers : 


Byrde 

Purcell 

Coupcrin 

Rameau 

Daquin 

Rossi 

Scarlatti 

J.  S.  Bach 

P.  E.  Bach 

Handel 

Haydn 

Mozart 


II. 
III. 


IV. 
V. 


VI. 


Beethoven 

Weber 

Schubert 

Mendelssohn 

Schumann 

Chopin 

Brahms 

Liszt 

Franck 

Grieg 

MacDowell 

Rubinstein 


Tchaikovsky 

Scriabin 

Rachmaninov 

Leschetizky 

Paderewski 

Moszkowski 

Debussy 

Ravel 

Reger 

Schonberg 

Scott 

Grainger 


His  own  published  compositions  include  sets 
of  two  to  five  piano-pieces,  opp.  1-3,  10  and 


12,  sets  of  two  or  three  songs,  opp.  5,  9  and  11, 
a  ' Thfeme  Varie '  and  a  '  Melodic '  for  piano,  opp. 
4  and  8,  an  'Elegy'  for  'cello  and  piano,  op. 
7,  and  an  '  Ouverture-Rhapsodie '  for  orchestra, 
op.  6.     [  R.9  ] 

GADSKI,  JOHANNA  EMILIA  AGNES 
(June  15,  1872,  Anclam,  Germany),  was  a 
pupil  at  Stettin  of  Mme.  Schroeder-Chaloupka. 
She  first  appeared  in  Berlin  in  1889  in  '  Undine,' 
followed  by  engagements  in  Germany  and 
Holland.  From  1895  she  sang  almost  con- 
tinuously in  the  United  States,  at  first  with  the 
Damrosch  Opera  Company  and  from  1898 
at  the  Metropolitan  Opera  House,  besides 
being  heard  often  in  England  and  Germany. 
In  addition  to  her  distinction  as  a  great 
Wagnerian  singer  she  has  also  been  eminently 
successful  in  song-recitals.  In  1892  she 
married  Hans  Tauscher.  In  1917  she  aroused 
much  resentment  by  political  intrigues  and 
withdrew  to  Berlin.     [  R.8  ] 

GALE,  CLEMENT  ROWLAND  (Mar.  12. 
1862,  Kew,  England),  was  in  1878-80  an 
articled  pupil  at  St.  Peter's  Church,  Eaton 
Square,  London,  and  then  entered  Exeter 
College  at  Oxford,  where  he  graduated  in  arts 
in  1884  and  in  music  in  1889.  In  1884-85 
he  was  music-master  at  Reading  School.  In 
1885-89  he  was  in  Edinburgh  as  sub-organist 
at  St.  Mary's  Cathedral,  and  music-master 
at  the  Craigmount  School  and  the  John 
Watson  Institute.  Coming  to  New  York 
in  1890,  he  was  organist  at  Calvary  Church  for 
ten  years,  then  at  All  Angels'  in  1900-10, 
and  since  1910  at  Christ  Church.  He  has  been 
organist  and  instructor  at  the  General  Theo- 
logical Seminary  since  1901,  and  instructor 
in  harmony,  counterpoint  and  composition 
at  the  Guilmant  Organ  School  since  1902. 
He  has  published  many  anthems,  services, 
part-songs  and  organ-pieces.  His  unpub- 
lished compositions  include  Psalm  130  for  solo 
voices,  five-part  chorus  and  orchestra ;  a 
Mass  in  G ;  a  concert-overture;  a  'Jubilate 
Deo '  in  cantata-form ;  many  songs,  part- 
songs,  organ-  and  piano-pieces.  He  was  a 
founder  of  the  A.  G.  O.,  and  has  long  been 
prominent  in  its  affairs.     [  R.8  ] 

GALE,  WALTER  C.  (Sept.  5,  1871, 
Cambridge,  Mass.),  graduated  at  the  College 
of  the  City  of  New  York  in  1891.  He  was 
trained  by  Bassford  and  Sauret  in  piano,  by 
Frank  Damrosch  in  harmony  and  counter- 
point, and  by  S.  P.  Warren  in  organ.  After 
holding  minor  positions,  in  1890  he  became 
organist  at  the  Brick  (Presbyterian)  Church, 
New  York,  going  thence  in  1893  to  Holy 
Trinity  for  five  years,  part  of  this  time  be- 
ing   also    assistant-organist    at    St.    Thomas'. 


213 


214 


GALES 


GARDEN 


In  1900-05  he  was  organist  at  All  Souls', 
and  since  1905  has  been  at  the  Broadway 
Tabernacle  (Congregational).  From  1901  he 
was  private  organist  to  Andrew  Carnegie. 
He  teaches  at  Miss  Spence's  School  for  Girls 
and  directs  the  Orpheus  Choral  Society.  His 
published  works  are  mainly  for  church-use  — 
anthems  and  solos.  An  organ-sonata  in  A 
minor  is  in  ms.  He  was  a  founder  of  the  A. 
G.  O.  and  has  been  warden.     [  R.7  ] 

GALES,  WESTON  (Nov.  5,  1877,  Eliza- 
beth, N.  J.),  as  a  boy  was  soprano-soloist  in 
Elizabeth  and  New  York.  He  early  began 
piano-study  and  continued  it  with  Sauford 
at  Yale,  where  he  graduated  in  1898.  He 
also  studied  theory  with  Parker  and  organ 
with  Dethier.  In  1899-1902  he  was  organist 
at  Irvington-on-Hudson,  in  1902-08  at  Christ 
Church  in  New  York,  and  in  1908-13  at 
Emmanuel  Church  in  Boston.  He  is  a 
recognized  specialist  in  boy-choir  training. 
He  prepared  the  boys'  choruses  for  the  first 
New  York  performance  of  Wolf-Ferrari's 
'Vita  Nuova'  and  for  various  Bach  works, 
and  has  executed  similar  tasks  in  Boston. 
During  two  summers  he  studied  organ  with 
Widor  and  Vierne  in  Paris.  In  the  summer 
of  1913  he  conducted  orchestral  concerts  in 
Munich,  Hamburg  and  Nuremberg.  In  1914 
he  founded  the  Detroit  Symphony  Orchestra, 
and  conducted  it  till  1918.     [  R.8  ] 

GALESBURG  MUSICAL  UNION,  THE, 
of  Galesburg,  111.,  is  a  choral  society  which 
about  1900  grew  out  of  a  smaller  vocal  club 
in  the  Conservatory  connected  with  Knox 
College.  Its  conductor  from  the  first  has 
been  William  F.  Bentley,  the  director  of  the 
Conservatory,  and  its  membership  averages 
about  150.  Two  concerts  are  given  each  year, 
assisted  by  the  Conservatory  orchestra  or 
one  from  outside,  such  as  the  Chicago  or 
Minneapolis  Symphony  Orchestras.  Both 
oratorios  and  smaller  works  are  given. 

GALLI-CURCI,  AMELITA  (Nov.  18, 
1889,  Milan,  Italy),  had  her  general  education 
at  the  Liceo  Alessandro  Manzoni  and  Inter- 
national Institute  of  Languages  at  Milan. 
At  the  Milan  Conservatory  she  studied  piano 
under  Appiani  and  graduated  with  a  first 
prize  in  1903.  Self-taught  as  a  singer,  she 
made  her  d6but  as  Gilda  in  'Rigoletto'  at 
the  Costanzi  in  Rome.  During  the  next  six 
years  she  sang  at  the  principal  theaters  in 
Italy  and  Spain,  besides  touring  in  South 
America  with  Caruso  and  Titta  RufTo.  In  the 
United  States  she  appeared  with  the  Chicago 
Opera  Company  in  Chicago  in  1916,  and  in 
New  York  with  the  same  company  in  1918. 
Her  success,  both  in  opera  and  in  concert, 
has  been  sensational,  and  she  is  universally 
placed  in  the  first  rank  of  coloratura-sopranos. 
Her  repertoire  includes  Gilda,  Lucia,  Dinorah, 


Rosina,  Violetta,  Amina,  Lakme,  Leila,  Elvira 
and  Juliette.  In  1908  she  married  the  Italian 
painter  Luis  Curci,  Marquis  de  Simeri  (di- 
vorced in  1920).     [  R.IO  ] 

GALLICO,  PAOLO  (May  13,  1868,  Trieste, 
Austria) ,  appeared  in  recital  as  pianist  as  early 
as  1883.  In  1886  he  graduated  from  the 
Vienna  Conservatory  (class  of  Julius  Epstein) 
with  highest  honors  and  two  gold  medals. 
He  made  concert- tours  of  Europe,  and  settled 
in  New  York  in  1892,  where  he  is  an  able 
concert-pianist  and  teacher.  His  compositions 
include  the  operetta  '  Johannistraum,'  the 
comic  opera  'Harlekin'  (Cranz),  piano-pieces, 
songs  and  arias  (Schirmer,  Harms,  Cranz). 
He  has  also  edited  some  piano-music.     [  R.8  ] 

GANDELL,  SHIRLEY  MARK  KERR 
(b.  1866).     See  Register,  8. 

GANNETT,  ELMER  K,  See  Colleges,  3 
(Iowa  Wesleyan  C). 

GANTVOORT,  ARNOLD  JOHANN  (b. 
1857).     See  Register,  6. 

GANZ,  RUDOLPH  (Feb.  24,  1877,  Zurich, 
Switzerland),  early  began  studying  both  'cello 
and  piano  under  Johannes  Hegar  for  the  one 
and  Robert  Freund  for  the  other.  In  1893-96 
he  continued  the  latter  with  his  uncle,  Carl 
Eschmann-Dumur,  and  composition  with 
Blanchet,  both  in  Lausanne.  Then  followed 
periods  with  Blumer  (piano)  in  Strassburg 
and  with  Busoni  (piano)  and  Urban  (com- 
position) in  Berlin.  At  the  end  of  1899  he 
made  his  formal  debut  as  pianist  with  the 
Philharmonic  Orchestra  in  Berlin,  playing  the 
Beethoven  concerto  in  E-flat  and  the  Chopin 
concerto  in  E  minor.  In  1900-05  he  was  head 
of  the  piano-department  in  the  Chicago 
Musical  College.  He  has  since  devoted  him- 
self to  recital-tours  in  Europe  and  America 
with  the  greatest  success.  He  is  equally 
at  home  in  the  presentation  of  classical  and 
modern  music,  and  has  an  enormous  repertoire. 
In  Berlin  alone  he  has  played  sixteen  different 
concertos.  His  programs  are  comprehensive, 
including  many  works  by  modern  composers. 
His  most  important  compositions  are  a 
Symphony  in  E,  op.  1,  and  a  Concert-Piece 
for  piano  and  orchestra,  op.  4,  both  performed 
in  Europe  and  America,  but  not  yet  published, 
with  a  set  of  piano-variations,  op.  21,  on  a 
theme  by  Brahms.  Published  works  include 
some  40  piano-pieces,  about  200  songs  and 
many  men's  choruses.     [  R.9  ] 

GARCIA,  MANUEL  DEL  POPOLO  VI- 
CENTE (1775-1832).     See  Register,  3. 

GARDEN,  MARY  (Feb.  20,  1877,  Aber- 
deen, Scotland),  was  brought  to  America  as 
a  child,  living  in  Chicopee,  Mass.,  in  Hartford, 
Conn.,  and  from  1888  in  Chicago.  She  began 
violin-study  at  six,  piano  at  twelve  and  singing 
in  1893  with  Mrs.  S.  R.  Duff  of  Bangor,  Me., 
who  took  her  to   Paris  in   1895.     Here   she 


'GARDEN   OF  ALLAH' 


GAY 


215 


studied  with  Trabadello  and  FugSre.  Her 
debut  as  Louise  was  at  the  Op6ra-Comique  on 
Apr.  12,  1900,  on  a  day's  notice  and  without 
rehearsal,  as  a  substitute  for  Mile.  Rioton. 
Even  so  she  won  success.  She  was  well- 
known  in  Paris  and  London  as  singer  and 
actress  before  she  appeared  in  'Thais'  at  the 
Manhattan  Opera  House  in  New  York  in 
1907.  She  sang  at  the  Manhattan  until  1910, 
and  has  since  been  with  the  Chicago  Opera  Com- 
pany. She  has  created  the  roles  of  Melisande 
in  'Pelleas  et  M61isande'  (1902,  by  request 
of  the  composer),  Marie  in  'La  Marseillaise' 
(1900),  Diane  in  'La  Fille  du  Tabarin'  (1901) 
and  Fiammette  in  'La  Reine  Fiammette' 
(1903).  Her  roles,  many  of  which  she  has 
introduced  in  America,  also  include  Salome 
(Strauss),  Sapho,  Griseldis,  Marguerite  (in 
'Faust'),  Carmen  and  Jean  (in  'Le  Jongleur 
de  Notre-Dame').     [  R.9  ] 

'GARDEN  OF  ALLAH,  THE.'  An  opera 
by  Henry  K.  Hadley,  produced  by  the  Chicago 
Opera  Company  in  1918  in  New  York. 

J  GARDINER,  H.  BALFOUR  (Nov.  7, 
1877,  London,  England).  See  article  in  Vol. 
V.  641.  In  1912-13  he  promoted  a  series  of 
important  choral  and  orchestral  concerts  in 
London,  devoted  largely  to  the  production  of 
unknown  works  by  contemporary  British 
composers,  and  these  marked  an  epoch  in 
recent  musical  progress  in  England.  His 
own  work  was  interrupted  by  the  war,  the  only 
additions  to  his  compositions  being  the 
'Shepherd  Fennel's  Dance'  for  orchestra, 
'News  from  Whydah,'  for  chorus  and  or- 
chestra, and  some  unaccompanied  choruses. 

GARIEL,  EDOARDO  (Aug.  5,  1800,  Mon- 
terey, Mexico),  having  studied  with  A. 
Daunic  in  Monterey  and  Marmontel  in  Paris, 
taught  music,  French  and  English  at  the 
State  School  in  Saltillo  in  1887-98,  becoming 
director  in  1899-1900.  In  1900-08  he  was 
supervisor  of  school-music  in  Mexico  City,  in 
1908-15  professor  of  methodology  for  school- 
music  at  the  Normal  School  for  Girls,  and  in 
1915-17  professor  of  harmony  and  music- 
pedagogy  in  the  National  Conservatory. 
In  1915  the  government  sent  him  to  the  United 
States  to  study  teaching-methods,  and  on 
this  trip  he  expounded  original  theories  regard- 
ing harmony-teaching.  He  visited  Spain, 
Italy,  France  and  Switzerland  on  a  similar 
mission  in  1916.  In  1917  he  became  director 
of  the  Escuela  Nacional  de  Mtisica  y  Arte 
Teatral  in  Mexico  City.  He  is  the  author  of 
Chopin,  Consider aciones  sobre  algunas  de  sus 
obras  y  la  manera  de  interpretarlas,  1895, 
Solfeo  Elemental,  1905,  2  parts,  Solfco  y  Canto 
Coral  en  notacion  modal  cifrada,  1906,  Ele- 
mentos  de  Solfeo  y  Canto  Coral,  1908,  Nuevo 
Sistema  de  Armonia  basado  en  cuatro  acordes 
fundamentales,  1916,  also  in  English  (Schirmer) 


as  A  New  System  of  Harmony  based  on  four 
fundamental  chords.     [  R.7  ] 

GARRISON,  MABEL.     See  Register,  10. 

GARTON,  SAMUEL  B.  See  Colleges, 
3  (EarlhamCInd.). 

GASH,  Mrs.  HENRY  LEE.  See  Colleges, 
3  (HeddingC.,111.). 

GATTI-CASAZZA,  GIULIO  (Feb.  3,  1869. 
Udine,  Italy),  was  educated  as  a  naval  engineer 
at  the  Universities  of  Ferrara  and  Bologna, 
and  graduated  from  the  Naval  Engineering 
College  at  Genoa  in  1890.  He  succeeded 
his  father  as  president  of  the  theatrical  com- 
mittee at  Ferrara  in  1893,  and  for  five  years 
managed  the  Teatro  Municipale.  His  marked 
success,  aided  by  recommendations  from 
Puccini,  Mascagni  and  Franchetti,  whose 
operas  he  produced  at  Ferrara,  led  to  his 
becoming  director  of  La  Scala  at  Milan  in 
1898.  There  he  worked  for  ten  years,  and, 
in  conjunction  with  Toscanini  as  conductor, 
brought  the  performances  to  notable  per- 
fection. 'Rheingold'  and  'Siegfried'  were 
staged  for  the  first  time  in  Italy,  'Parsifal' 
was  produced  at  concerts,  Strauss'  'Salome,' 
Tchaikovsky's  'Eugene  Onegin'  and  'Pique 
Dame,'  and  many  modern  French  as  well  as 
Italian  operas  were  introduced.  Since  1908 
he  has  been  General  Director  of  the  Metro- 
politan Opera  House  in  New  York,  which 
has  never  been  administered  with  greater 
sustained  success.  His  policy  in  the  se- 
lection of  repertory  and  artists  and  the  at- 
tention given  to  every  detail  of  performance 
have  earned  him  high  renown.     [  R.9  ] 

GAUL,  HARVEY  BARTLETT  (Apr.  11, 
1881,  New  York),  at  sixteen  became  a  pupil 
of  LeJeune  and  deputy-organist  at  St.  John's 
Chapel.  In  1900  he  went  to  Emmanuel 
Church  in  Cleveland,  remaining  eight  years. 
Here  he  was  director  of  the  Hough  Choral 
Club  and  critic  on  the  'News,'  besides  going 
abroad  for  work  with  Armes  at  Durham  and 
Gaul  at  Birmingham.  After  his  marriage  to 
Harriett  Avery,  the  authoress,  he  removed 
to  Paris  to  study  under  Decaux  and  d'Indy 
at  the  Schola  Cantorum  and  with  Widor  and 
Guilmant,  serving  also  as  organist  at  St. 
Luke's  Chapel.  In  1910  he  came  to  Calvary 
Church  in  Pittsburgh.  He  is  also  critic  for 
the  'Post'  and  'Sun,'  and  teaches  at  the 
Carnegie  Institute  of  Technology  and  in 
private  schools.  His  chief  works  are  cantatas, 
organ-pieces,  anthems,  choruses  and  songs 
(Schirmer,  Ditson,  Gray,  White-Smith,  Birch- 
ard,  etc.).     [  R.8  ] 

GAY,  MARIA  (June  13,  1879,  Barcelona, 
Spain),  first  studied  sculpture,  and  her  con- 
version to  music  came  about  cm-iously.  At 
sixteen  she  was  imprisoned  for  six  months 
for  singing  a  revolutionary  song.  She  then 
took  up  the  violin,  made  rapid  progress,  and 


216 


GAYNOR 


GEHRKENS 


also  developed  her  voice,  though  without  a 
teacher.  Brought  to  Pugno's  notice,  she  sang 
at  some  of  his  concerts,  and  thus  was  heard 
at  Brussels  by  the  director  of  the  Theatre  de 
la  Monnaie,  where  she  made  her  debut  as 
Carmen  in  1902  on  five  days'  notice  and  with 
success.  She  then  studied  with  Mme.  Adiny 
in  Paris  for  a  year.  She  toured  France, 
Belgium,  Germany,  Russia,  Spain  and  Eng- 
land, appearing  at  Covent  Garden  in  1906  as 
Carmen.  In  1908  she  came  to  America,  sing- 
ing at  the  Metropolitan  Opera  House  in 
1908-09,  with  the  Boston  Opera  Company 
in  1910-12,  from  1913  with  the  Chicago  Opera 
Company  and  later  in  Boston  again.  Her  re- 
pertoire includes  Carmen,  Orfeo,  Delilah,  Azu- 
cena,  Maddalena  (in  'Rigoletto'),  Santuzza, 
Suzuki,  Charlotte  (in  'Werther'),  the  Mother 
(in  'Louise'),  Genevieve  (in  'Pelleas  et  Meli- 
eande) ,  Carmela  (in  '  I  Giojelli  della  Madonna ') , 
Pilar  (in  'La  Habanera'),  Lia  (in  'L'Enfaut 
Prodigue')  and  Brangane.     [  R.9  ] 

GAYNOR,  JESSIE  LOVEL,  noe  Smith 
(Feb.  17,  1863,  St.  Louis),  had  no  special  musi- 
cal training  until  after  her  graduation  from 
Pritchett  College  in  1881.  She  then  went  to 
Boston,  where  she  studied  piano  for  two  years 
with  Maas.  Later  she  had  theory  with 
Goodrich  and  Weidig  in  Chicago.  Songs 
written  for  her  own  children  led  to  her  first 
book,  Songs  of  the  Child-World.  She  was 
then  evolving  simple  methods  for  the  begin- 
nings of  music-study  and  piano-playing.  She 
has  given  much  time  to  practical  teaching 
and  the  development  of  teaching-methods. 
Her  compositions  include  many  for  children, 
but  those  for  older  folk  are  equally  popular. 
In  her  books  of  songs  Mrs.  Alice  C.  D.  Riley 
has  cooperated,  writing  many  of  the  verses. 
The  complete  list  includes  about  fifty  songs 
published  separately,  of  which  'The  Slumber 
Boat '  is  perhaps  the  best-known ;  seven 
'  Songs  to  Little  Folks ' ;  an  album  of  six 
'  Rose-Songs ' ;  an  album  of  seven  songs ; 
three  operettas,  'The  House  that  Jack  Built,' 
'  The  Toy-Shop ' ;  '  Princess  Bo-Peep ' ;  cho- 
ruses for  mixed  or  women's  voices ;  and  sev- 
eral piano-pieces.  Three  volumes  of  'Songs 
of  the  Child-World'  are  now  published,  and 
'Sunday-school  Songs  for  Little  Children.' 
Educational  works  for  the  piano  are  First 
Pedal-Studies,  Miniature  Melodies  (two  books), 
Melody -Pictures  for  Little  Players,  and  Minia- 
ture Duets.  Lilts  and  Lyrics  is  a  song-book 
for  children's  schools,  and  Elements  of  Musical 
Expression  is  for  early  use  in  dictation  and 
ear-training.  Several  songs  are  unpublished, 
as  is  also  a  romantic  operetta  'Pierre,  the 
Dreamer.'  She  married  Thomas  W.  Gaynor 
in  1886,  and  lives  in  St.  Louis.     [  R.8  ] 

GERHARD,  HEINRICH  (July  25,  1878, 
Sobernheim,    Germany),    came    to    America 


when  a  boy.  He  attended  the  High  School 
at  Roxbury,  Mass.,  and  studied  piano  with 
Clayton  Johns  in  Boston  until  1895.  After 
four  years  with  Leschetizky  in  Vienna,  he 
made  his  debut  with  the  Boston  Symphony 
Orchestra  in  1900.  He  has  since  held  an 
enviable  position  in  Boston  as  pianist  and 
teacher.  He  is  popular  both  as  ensemble- 
player  and  recitalist,  and  has  played  in  the 
first  Boston  performances  of  Franck's  Quintet 
and  'Variations  Symphoniques,'  Faur6's  G 
minor  Quartet,  and  d'Indy's  '  Mountain 
Symphony ' ;  and  in  the  first  American  per- 
formances of  Strauss'  'Burleske,'  Converse's 
'Night  and  Day,'  and  LoefBer's  'A  Pagan 
Poem.'  He  has  composed  a  string-quartet, 
a  sonata  for  violin  and  piano,  waltzes  for 
orchestra,  and  12  piano-pieces  (Boston  Music 
Co.).     [  R.9  ] 

GEDDES,  PAUL  R.  See  Colleges,  3 
(Stetson  U.,  Fla.). 

GEER,  E.  HAROLD  (Mar.  5,  1886,  Tabor, 
la.),  was  the  son  of  music- teachers  and  pioneera 
in  musical  education  in  Iowa,  his  father  being 
for  years  director  of  Tabor  College  Con- 
servatory. He  began  piano,  violin  and  organ 
under  his  parents'  direction.  In  1906  he 
graduated  from  Doane  College  in  Nebraska, 
and  the  next  year  at  the  Oberlin  Conser- 
vatory. In  1907-09  he  taught  at  Lake  Erie 
College  in  Ohio,  also  pursuing  graduate- 
studies  in  organ  and  composition  under 
Andrews  at  Oberlin  and  playing  in  the  Wood- 
land Avenue  Presbyterian  Church  in  Cleve- 
land. In  1909-11  he  taught  organ  and  theory 
at  Albion  College  in  Michigan,  and  then  went 
to  Paris  for  two  years  with  Widor  and  G6dalge. 
In  1913-16  he  was  organist  at  the  First 
Congregational  Church  in  Fall  River,  Mass. 
Since  1916  he  has  been  organist  and  assistant- 
professor  at  Vassar  CoUege.  His  compositions 
(unpublished)  include  a  sonata  for  violin  and 
piano,  songs,  short  pieces  for  piano  and  organ, 
and  arrangements  for  organ.  He  is  a  fellow 
of  the  A.  G.  O.     [  R.9  ] 

GEERE,  MARVIN  DARWIN  (b.  1883). 
See  Colleges,  3  (Baker  U.,  Kan.). 

GEHOT,  JEAN  (1756?-  ?  ).  See  Regis- 
ter, 2. 

GEHRKENS,  KARL  WILSON  (Apr.  19, 
1882,  Kelleys  Island,  O.),  graduated  from 
both  Oberlin  College  and  Oberlin  Conserva- 
tory in  1905.  For  two  years  he  taught  alge- 
bra and  German  in  the  Oberlin  High 
School,  but  in  1907  returned  to  the  Con- 
servatory to  take  charge  of  the  department  of 
school-music.  His  position  there  involves 
the  training  of  teachers  of  public-school 
music  and  also  the  supervision  of  music  in 
the  Oberlin  schools.  He  has  been  a  leader  in 
all  school-music  movements  and  is  prominent 
in  the  Supervisors'  National  Conference.     He 


GEIB 


GIDEON 


217 


13  also  active  in  the  M.  T.  N.  A.,  and  since 
1919  has  been  the  efEcient  editor  of  its  Pro- 
ceedings. He  has  written  Music-Notation  and 
Termiyiology,  1916,  Essentials  in  Conducting, 
1919,  an  Introduction  to  School  Music-Teaching, 
1919,  and  many  articles  on  various  phases 
of  music-education.     [  R.9  ] 

GEIB,  JOHN  and  ADAM.     See  Register,  3. 

GEIBEL,  ADAM  (b.  1855) .     See  Register,  7. 

GEIGER,  AUGUST  (d.  1910).  See  Col- 
leges, 2  (Brenau  C.,  Ga.). 

GEMUNDER,  AUGUST  MARTIN  LUD- 
WIG  (Mar.  22,  1814,  Ingelfingen,  Wiirtem- 
berg  :  Sept.  7,  1895,  New  York),  with  his 
brother,  was  trained  as  a  violin-maker  by  his 
father.  In  1846  he  came  to  Springfield,  Mass., 
establishing  a  business  which  about  1852 
became  famous  at  New  York.  His  instru- 
ments won  first  prizes  at  London  in  1851,  at 
Paris  in  1867  and  at  Vienna  in  1873,  and  have 
been  used  by  the  greatest  players.  The 
business  was  continued  by  four  sons.    [  R.4  ] 

GEMUNDER,  GEORG  (1816-1899).  See 
Register,  4. 

GENSS,  HERMANN  (b.  1856) .  See  Regis- 
ter, 8. 

GERHART,  I.     See  Tune-Books,  1818. 

GERICKE,  WILHELM  (Apr.  18,  1845, 
Graz,  Styria).  See  article  in  Vol.  ii.  159. 
His  second  engagement  as  conductor  of  the 
Boston  Symphony  Orchestra  was  in  1898- 
1906,  and  he  then  returned  to  Vienna,  retiring 
from  musical  activity.  He  showed  an  in- 
creased sjonpathy  for  modern  music  in  his 
later  years  at  Boston,  without  losing  that 
'passion  for  perfection'  for  which  he  was  noted. 
To  the  list  of  his  compositions  are  to  be  added 
a  septet,  a  string-quartet,  two  sonatas  for 
violin  and  piano  and  two  for  piano,  a  piano- 
quintet  and  trio,  and  a  suite  for  orchestra. 
He  has  also  orchestrated  three  sonata-move- 
ments of  Bach  and  provided  additional 
accompaniments  for  Handel's  'Judas  Mac- 
caboeus.'     [  R.7  ] 

GERMAN  SINGING-SOCIETIES.  Rit- 
ter,  in  his  Music  in  America,  lays  just  em- 
phasis upon  the  zeal  with  which  German 
immigrants  early  organized  choral  societies, 
originally  for  men's  voices  only.  The  New 
York  Liederkranz  was  started  in  1847,  and 
from  it  diverged  in  1854  the  Arion.  About 
the  same  time  similar  movements  took  place 
in  many  other  cities.  The  Cincinnati  Man- 
nerchore  united  in  a  festival  in  1849.  The 
Milwaukee  Musikverein  was  organized  in 
1849.  Philadelphia,  Baltimore,  St.  Louis 
and  Chicago  may  be  cited  as  other  places 
where  like  activity  was  shown.  At  first  all 
these  societies  were  for  men  and  cultivated 
only  part-songs.  All  of  them,  also,  were  in 
a  sense  private  —  for  members  and  their 
friends.     But   some   of   them   expanded   into 


mixed  choruses  and  undertook  extensive 
performances  of  large  choral  works  in  a  public 
way.  Even  in  their  more  limited  form  they 
supplied  within  their  own  circle  a  useful 
stimulus,  and  when  they  gave  concerted  works 
and  operas  they  became  institutions  of  general 
culture.  Their  most  fruitful  influence  was 
just  before  and  just  after  the  Civil  War. 
Out  of  them  in  several  cases  grew  more  com- 
prehensive enterprises  that  were  permanent 
and  powerful.  In  at  least  half  a  score  of  cities 
the  enthusiasm  over  them  supplied  the  basis 
for  both  choral  and  orchestral  projects  of 
much  greater  scope  and  public  spirit. 

GERMANIA  ORCHESTRA,  THE,  was  a 
co5perative  troupe  of  German  players,  largely 
recruited  from  Gungl's  band  in  Berlin,  who 
came  to  New  York  in  1848.  Originally  they 
numbered  twenty-four,  all  competent  per- 
formers, led  by  Carl  Lensehow.  The  latter 
was  succeeded  in  1850  by  Carl  Bergmann,  and 
the  number  of  members  was  at  times  increased. 
The  first  concert  was  on  Oct.  5,  1848,  in  the 
Astor  Place  Opera  House,  followed  by  a  series 
of  sixteen,  with  four  in  Brooklyn.  In  De- 
cember six  concerts  were  given  in  Philadelphia, 
but  with  such  ill-success  that  the  troupe  was 
temporarily  disbanded.  In  March,  1849, 
they  were  reassembled  at  Washington  to  play 
at  the  inauguration  of  President  Taylor. 
Thence  they  went  to  Baltimore,  giving  ten 
concerts  and  for  the  first  time  winning 
pecuniary  success.  On  their  way  north  they 
stopped  at  New  Haven,  Hartford,  Springfield, 
Worcester  and  Providence.  From  April  14 
they  gave  twenty  concerts  in  Boston  with  such 
eclat  that  they  were  in  much  request  else- 
where, not  only  in  New  England,  but  in  the 
South  and  West.  They  played  a  remarkably 
long  list  of  symphonies,  overtures  and  lesser 
works,  besides  joining  with  choral  societies 
in  concerted  works.  Among  the  soloists 
assisting  were  Jenny  Lind,  Sontag,  Camilla 
Urso  and  Ole  Bull.  In  September,  1854, 
however,  the  laboriousness  of  travel  led  to  the 
dissolution  of  the  Orchestra.  During  six 
years  they  gave  nearly  nine  hundred  concerts. 
The  influence  of  these  was  one  of  the  most 
potent  factors  in  the  growth  of  American 
taste  and  knowledge.  See  article  in  'Scrib- 
ner's  Magazine,'  Nov.,  1875,  and  the  old 
print  reproduced  in  Elson,  American  Music, 
p.  82.' 

GERVILLE-R:fiACHE,  JEANNE  (1882- 
1915).     See  Register,  9. 

GESNER,  MAUDE  EMMA.  See  Col- 
leges, 3  (Western  Maryland  C). 

GIDEON,  HENRY  (Oct.  7,  1877,  Louis- 
ville, Ky.),  graduated  from  the  Louisville 
Boys'  High  School  in  1895.  He  studied 
music  at  Harvard,  spent  a  year  in  Paris  on  a 
scholarship,    and    was   made   A.M.   in    1906. 


218 


GILBERT 


GILCHRIST 


Since  1908  he  haa  been  organist  at  Temple 
Israel  in  Boston,  and  music-director  at  the 
Union  Park  Forum.  With  his  wife,  n6e 
Ramsay,  he  toured  at  intervals  for  three  years. 
For  a  time  he  conducted  the  Cecilia  Society. 
He  edited  the  Jewish  Hymnal  for  Religious 
Schools,  2nd  ed.,  1917.  His  compositions  are 
part-songs  for  women's  voices,  'As  sing  the 
thrushes'  and  'A  Jewish  Lullaby,'  four  songs 
and  a  piano-arrangement  of  the  Scherzo  from 
Guilmant's  Fifth  Sonata  (all  Witmark). 
Unpublished  are  a  Mass  in  F,  a  score  of  songs, 
and  arrangements  of  Russian-Jewish  folk- 
songs with  English  texts  (version  by  Mrs. 
Gideon) .  He  has  led  three  musical  pilgrimages 
through  Europe,  lectured  for  the  Boston  Opera 
Company,  and  written  many  articles  for  mag- 
azines.    [  R.9  ] 

GILBERT,  HENRY  FRANKLIN  BEL- 
KNAP (Sept.  26,  1868,  Somerville,  Mass.), 
had  his  school-education  at  Cambridge  and 
Reading,  Mass.  He  studied  violin  in  Boston 
with  MoUenhauer,  harmony  with  Howard 
and  Whiting  at  the  New  England  Conser- 
vatory, and  in  1889-93  composition  with 
MacDowell  —  his  first  pupil  after  returning 
from  Europe.  While  studying  he  played 
violin  in  small  orchestras  for  support.  In 
1894,  with  Professor  J.  D.  Whitney  of  Har- 
vard, he  gave  concerts  illustrating  the  Slavic 
tendencies  in  modern  music.  After  some  busi- 
ness experiences  and  varied  further  studies, 
he  lived  for  a  time  in  Paris  —  intent  upon 
French  literature.  In  1901,  being  once  more 
in  America,  he  went  again  to  Paris  to  hear 
Charpentier's  'Louise,'  and  then  decided  to 
devote  himself  to  composition.  Being  in- 
tensely interested  in  folk-music  generally,  he 
threw  in  his  lot  with  the  circle  represented  by 
the  Wa-Wan  Press,  though  with  more  emphasis 
upon  Negro  than  Indian  sources.  His  list 
of  works  is  as  follows : 

Orchestral  — 

'Americanesque,'  based  on  three  minstrel-tunea 
(about  1903)  (Gray). 

'Comedy-Overture  on  Negro  Themes'  (1911,  New 
York,  Pittsburgh,  Boston  and  often  since)  (Gray). 

Three  'American  Dances'  (1911)  (4-hand  piano- 
arrangement,  Boston  Music  Co.). 

'Negro  Rhapsody'  (1913,  Norfolk  Festival)  (Gray). 

Two  'Episodes,'  'Legend,'  'Negro  Episode'  (Gray). 

Symphonic  Prologue,  'Riders  to  the  Sea,'  after  the 
tragedy  of  Synge,  utilizing  studies  in  Celtic  folk- 
music  (1915,  Peterboro  Festival)  (Schirmer). 

'Salammbo's  Invocation  to  Tanith,'  after  Flaubert, 
for  soprano  and  orchestra  (piano-score.  Gray). 

Six  'Indian  Sketches,'  for  chorus  and  orchestra. 

Hymn,  'To  America'  (piano-score,  Birchard). 

Symphonic  Ballet,  'The  Dance  in  Place  Congo,' 
based  on  four  Creole  themes    quoted  by  Cable 
(1918,    Metropolitan    Opera    House,    thrice    re- 
peated and  once  in  Boston). 
Piano  — 

'The  Island  of  the  Fay,'  after  Poe  (Gray). 

'Indian  Scenes,'  'Negro  Dances'  (Gray). 


Songs  — 

'Pirate  Song,'  text  from  Stevenson  (often  sung  by 

Bispham). 
About  15  published  by  Gray,  with  others  by  Presser, 

Birchard,  Ditson  and  Boston  Music  Co. 
(Edited)  'One  Hundred  Folk-Songa'  (Birchard). 

Of  these  the  most  ambitious  is  the  '  Dance  in 
Place  Congo,'  which  called  out  both  high  praise 
and  question  for  its  depiction  of  rude  vigor. 
To  The  Art  of  Music  he  contributed  a  chapter 
on  'Primitive  Music,'  and  to  E.  S.  Curtis* 
North  American  Indian  one  on  '  Indian  Music' 
He  has  written  thoughtful  articles  for  'Music,' 
'The  New  Music  Review'  and  'The  Musical 
Quarterly.'  He  has  lectured  on  'Humor 
in  Music'  at  Harvard  and  Columbia  in  1917- 
18,  with  piano-illustration  by  George  Cope- 
land.  See  article  by  Olin  Downes  in  'The 
Musical  Quarterly,'  January,   1918.     [  R.8  ] 

GILBERT,  TIMOTHY  and  LEMANUEL. 
See  Register,  3. 

GILBERT,  WALTER  BOND  (Apr.  21, 
1829,  Exeter,  England  :  Mar.  2,  1910, 
Oxford,  England),  after  study  with  Alfred 
Angel,  Wesley  and  Bishop,  from  about  1845 
was  organist  at  various  places  in  England  and 
took  his  first  degree  at  Oxford  in  1854.  He 
was  a  founder  of  the  R.  C.  O.  and  in  later  years 
one  of  its  vice-presidents.  From  1869  for 
thirty  years  he  was  organist  at  Trinity  Chapel 
in  New  York,  highly  respected  as  player, 
composer  and  editor  of  church-music.  In 
1899  he  retired  on  a  pension  and  later  went 
back  to  England.  He  was  made  Mus.D.  by 
Toronto  University  in  1886  and  by  Oxford 
University  in  1888.  He  composed  the  ora- 
torios 'St.  John'  (1857)  and  'The  Resto- 
ration of  Israel'  (1859),  services  in  C,  E  and 
A-flat  (one  written  when  only  17,  but  in 
standard  use),  anthems,  hymn-tunes  and 
organ-pieces.  He  wrote  or  edited  The  Parish 
Church  Manual,  1854,  The  Canticles,  1856, 
The  Church  Chorister,  1872,  The  Hymnal  (with 
A.  B.  Goodrich),  1872,  Organ-Preludes  and 
Fugues,  1880,  The  Psalter,  1882,  and  also 
Memorials  of  All  Saints'  Church,  Maidstone, 
1864,  and  The  Antiquities  of  Maidstone,  1865. 
[  R.5  ] 

GILCHRIST,  WILLIAM  WALLACE  (Jan. 
8,  1846,  Jersey  City,  N.  J.  :  Dec.  20,  1916, 
Easton,  Pa.),  was  for  his  whole  life  identified 
with  Philadelphia  (except  for  teaching  at 
Cincinnati  in  1872-73).  His  only  teacher 
(from  1865)  in  organ,  voice  and  theory  was 
Dr.  Clarke  at  the  University  of  Pennsylvania. 
In  1874  he  organized  and  for  forty  years 
conducted  the  Mendelssohn  Club.  He  was 
conductor  of  the  Philadelphia  Symphony 
Orchestra,  from  which  the  present  Philadelphia 
Orchestra  developed,  from  1892  the  moving 
spirit  in  the  Manuscript  Music  Society  and 
president  of  the  Musical  Art  Club.     He  was 


GILES 


GLAZUNOV 


219 


a  leading  vocal  teacher,  choirmaster  at  the 
Church  of  the  New  Jerusalem  (Sweden- 
borgian)  and  from  1882  voice-teacher  at  the 
Philadelphia  Musical  Academy.  He  was 
made  Mus.D.  by  the  University  of  Pennsyl- 
vania in  1896.  In  1882  he  won  the  Cincinnati 
Festival  prize  of  $1000  for  his  setting  of 
Psalm  46,  Reinecke,  Saint-Saens  and  Thomas 
being  the  judges;  he  also  won  two  prizes 
offered  by  the  Abt  Singing  Society  of 
Philadelphia  and  three  offered  by  the  Mendels- 
sohn Glee  Club  of  New  York.  He  conducted 
his  Symphony  in  C  at  the  Philadelphia  Or- 
chestra concerts  in  1910.  He  also  composed 
a  Christmas  oratorio;  Psalm  90;  'Song  of 
Thanksgiving,'  for  chorus  and  orchestra ; 
'Easter  Idyl' ;  the  cantata  'The  Rose'  (1887) ; 
a  2nd  Symphony,  in  D ;  a  nonet  for  piano, 
strings,  flute,  clarinet  and  horn ;  a  quintet  for 
piano  and  strings;  a  string-quartet;  a  piano- 
trio  ;  many  songs ;  and  a  long  list  of  anthems 
and  church-music.  His  writing  combined  great 
technical  dexterity  with  much  imaginative 
power.     [  R.6  ] 

GILES,  THOMAS  (b.  1883).  See  State 
Universities  (Utah). 

GILFERT,  GEORGE.     See  Register,  2. 

GILIBERT,  CHARLES  (1866-1910).  See 
Register,  9. 

GILLES,  FRANK  WOOD.  See  Colleges, 
3  (Heidelberg  U.,  Ohio). 

GILLES,  P.     See  Register,  3. 

GILLETTE,  JAMES  ROBERT  (b.  1886). 
See  Register,  10. 

GILLINGHAM,  GEORGE  (d.  1823?). 
See  Register,  2. 

OILMAN,  BENJAMIN  IVES  (b.  1852). 
See  Register,  8. 

GILMAN,  LAWRENCE  (July  6,  1878, 
Flushing,  N.  Y.),  one  of  the  most  active  writers 
on  the  music  of  to-day,  was  educated  at  the 
Collins  Street  Classical  School  in  Hartford, 
Conn.,  but  was  self-trained  in  music.  In 
1901-13  he  was  music-critic  for  'Harper's 
Weekly,'  and  in  1911-13  also  managing- 
editor.  Since  1913  he  has  been  musical  and 
dramatic  critic  of  '  The  North  American  Re- 
view,' and  recently  also  literary  critic  and 
member  of  the  editorial  staff.  He  is  author 
of  Phases  of  Modern  Music,  1904,  Edward 
MacDowell,  1904,  The  Music  of  To-morrow, 
1906,  Guide  to  Strauss'  Salome,  1907,  Stories 
of  Symphonic  Music,  1907,  Guide  to  Debussy's 
'  PMeas  et  Melisande,'  1907,  Aspects  of  Modern 
MuAsic,  1908,  Life  of  Edward  MacDowell,  1909, 
and  Nature  in  Music,  1914.  He  has  composed 
'A  Dream  of  Death'  and  'The  Curlew,'  reci- 
tations with  music  after  Yeats  (Schirmer). 
[  R.9  ] 

GILMORE,  PATRICK  SARSFIELD 
(1829-1892).     See  Vol.  ii.  169,  and  Register,  4. 

X  GILSON,  PAUL  (June  15,  1865,  Brussels, 


Belgium).  See  article  in  Vol.  ii.  169-70.  To 
the  list  of  works  add  the  opera  '  Gens  de  Mer' 
(1902),  later  known  as  'Zeevolk'  (1904);  in- 
cidental music  to  '  Liefdebloem '  and  '  Roovers- 
lief de ' ;  two  cantatas  for  soli,  chorus  and 
orchestra,  '  David '  and  '  Les  Suppliantes ' ; 
the  symphonic  poems  'Halia'  and  'La  Des- 
tin6e' ;  'Scotch  Dances'  and  'Suite  Pastorale' 
for  orchestra;  and  a  'Norwegian  Suite'  for 
wind-instruments.  He  has  also  written  Le 
Tutti  Orchestral,  1913,  a  treatise  on  dynamics. 

GILSON  COMPANY,  THE  F.  H.,  of 
Boston,  was  founded  in  1878  as  a  music- 
printing  establishment.  Besides  attaining  a 
position  of  leadership  in  this  business,  for 
many  years  it  also  did  general  book-publishing. 
Since  1889  it  has  been  located  at  54-60  Stan- 
hope St. 

GIORNI,  AURELIO  (b.  1895).  See  Reg- 
ister, 10. 

GIORZA,  PAOLO  (1838-1914).  See  Reg- 
ister, 8. 

'  GIOVANNA  DI  NAPOLI.'  An  opera  by 
Maurice  Strakosch,  produced  in  New  York  in 
1860  (?). 

GITTELSON,  FRANK  (June  12,  1896, 
Philadelphia),  came  of  musical  parents  and 
early  showed  talent.  He  began  violin  with 
Paul  Meyer  in  Philadelphia  and  Daniel 
Visanska  in  New  York,  and  then  studied 
with  Auer  and  Flesch  in  Berlin.  His  debut 
was  in  Berlin  in  1913,  Gabrilovitch  conducting. 
A  tour  in  Germany,  Austria  and  Holland 
followed,  and  at  this  time  Nikisch  prophesied 
for  him  a  brilliant  career.  In  London  he 
gave  a  joint-recital  with  Melba  at  Albert 
Hall.  In  America  he  appeared  first  in  1914, 
with  the  Philadelphia  Orchestra.  He  has 
since  played  with  leading  orchestras  and 
given  many  recitals.  During  the  war  he  was 
assigned  to  the  Radio  Service.  In  1919  he 
became  professor  of  violin  at  the  Peabody 
Conservatory  of  Music  in  Baltimore.  He 
has  practically  introduced  and  repeatedly 
played  the  first  violin-concerto  of  Alfredo 
d'Ambrosio,  and  expects  soon  to  introduce 
a  second  concerto.     [  R.IO  J 

GLASSON,  T.  BATH.     See  Register,  8. 

X  GLAZUNOV,  ALEXANDER  CONSTAN- 
TINOVITCH  (Aug.  10,  1865,  Petrograd, 
Russia).  See  article  in  Vol.  ii.  175-177.  In 
1909-12  he  was  director  of  the  Petrograd 
Conservatory,  and  then  returned  to  his  class 
in  instrumentation  and  score-reading.  To 
the  list  of  works  add 

op.   73   'Ouverture  Solennelle.' 

76    'Marche  sur  un  thdme  russe,'  for  orches- 
tra. 
78   Ballade,  for  orchestra. 

81  'Scfine  dansante,'  for  orchestra. 

82  Concerto  in  A  minor,  for  violin  (1904). 

83  Symphony  No.  8,  in  E-flat. 

84  Dramatic  Overture,  'Le  Chant  du  Destin.' 


220 


GLEASON 


GODOWSKY 


op.   85  Two  Pr6Iude3. 

87  'Prologue  Symphonique,  k  Gogol'  (1909). 

88  'Fantaisie  Finnoise'  (1910,  Helsingfors) . 

89  'Esquisses  Finnoises'  or  'Kalevala  Suite' 

(1909). 

90  'Introduction  et  la  Danse  de  Salom6.' 

91  'Cortege  Solennel.' 

92  Concerto  in  F  minor,  for  piano. 

93  Prelude  and  Fugue,  for  organ.- 
Without      opus-number :      Incidental     music      to 

Wilde's  'Salome'  and  to  Grand  Duke  Conatan- 
tine  Alexander's  passion-play,  'The  King  of 
the  Jews.' 

See  biography  by  Ossowsky,  1907,  and  also 
Montagu-Nathan,  Contemporary  Russian  Com- 
posers, 1917. 

GLEASON,  FREDERIC  GRANT  (Dec. 
17,  1848,  Middletown,  Conn.  :  Dec.  6,  1903, 
Chicago).  See  article  in  Vol.  ii.  177.  Add 
to  list  of  works  the  piano-concerto  in  G 
minor,  op.  18.  'Edris'  was  played  by  the 
Chicago  Orchestra  under  Thomas  on  April 
17-18,  1896,  and  also  the  'Song  of  Life'  on 
Nov.  30,  1900,  besides  at  other  times  the 
prelude  to  'Otho  Visconti'  and  'The  Pro- 
cession of  the  Holy  Grail.'  The  opera  'Otho 
Visconti'  was  given  at  the  College  Theatre, 
Chicago,  on  June  4,  1907,  under  the  direction 
of  Walter  Keller.  He  was  a  member  of  the 
New  York  Manuscript  Society,  the  first 
president  of  the  Manuscript  Society  of  Chicago 
(1896-98),  in  1884-89  music-critic  of  the 
Chicago  'Tribune';  and  in  1900-03  director 
of  the  Auditorium  Conservatory.     [  R.6  ] 

GLEN,  IRVING  MACKEY  (b.  1871). 
See  Register,  8,  and  State  IlNiVERSiTiEa 
(Wash.,  Ore.). 

t  GLIERE,  REINHOLD  M  ORITZOVITCH 
(Dec.  30,  1874,  O.S.  or  Jan.  11,  1875,  N.S., 
Kiev,  Russia).  See  note  in  Vol.  ii.  179.  In 
1914  he  became  director  of  the  conservatory 
at  Kiev.  His  larger  works  are  the  Symphonies 
in  E-flat,  op.  8,  and  C  minor,  op.  25;  the 
symphonic  poem  '  Les  Sirfenes ' ;  '  Ilia  Muro- 
metz,'  op.  42,  entitled  a  symphony,  but  really 
a  symphonic  poem  ;  the  opera  '  Awakened ' ; 
two  string-quartets,  op.  2  in  A  and  op.  20  in 
G ;  three  string-sextets  and  a  string-octet ; 
pieces  for  two  pianos,  opp.  41  and  61,  and  many 
songs  and  smaller  instrumental  pieces. 

GLOVER,  WILLIAM  HOWARD  (1819- 
1875).     See  Register,  5. 

GLUCK,  ALMA  (May  11,  1886,  Bucharest, 
Rvunania),  was  brought  to  New  York  as  a 
child  (Reba  Fierson)  and  was  educated  in 
the  public  schools  and  the  Normal  College. 
She  began  a  business  career  as  confidential 
secretary  before  discovering  that  her  voice 
was  worth  cultivation.  After  studying  in 
1906-09  with  Buzzi-Peccia,  she  sang  for 
Toscanini  and  Gatti-Casazza  and  was  at  once 
engaged  for  the  Metropolitan  Opera  House. 
She  made  hor  d6but  as  Sophie  in  Massenet's 
'Werther'    in    1909,    and    later    appeared    in 


'Orfeo,'  'I  Pagliacci,'  'Armide,'  'Stradella' 
and  'La  Bohfeme.'  In  her  first  year  at  the 
Metropolitan  she  sang  eleven  roles  and  twenty 
in  all.  In  1912  she  gave  up  the  stage  for 
concert-work,  in  which  she  had  been  and  is 
notably  successful.  The  winter  of  1912-13 
was  spent  in  study  with  Sembrich  in  Berlin. 
She  married  the  violinist  Efrem  Zimbalist  in 
1914.     [  R.9  ] 

GODOWSKY,  LEOPOLD  (Feb.  13,  1870, 
Wilna,  Russian  Poland),  first  appeared  as 
pianist  at  nine,  and  began  American  tours  in 
1884  with  Clara  Louise  Kellogg  and  Emma 
Thursby  and  later  with  the  violinist  Musin. 
His  studies  prior  to  this  date  had  been  in 
Wilna,  with  a  few  months  at  the  Hochschule 
in  Berlin  under  Rudorff.  In  1886  he  returned 
to  Europe,  expecting  to  study  with  Liszt,  but 
the  latter's  death  prevented.  In  1887-90  he 
was  a  pupil  of  Saint-Saens  in  Paris.  His 
second  American  tour  began  in  1890,  and  led 
to  a  long  sojourn,  at  first  as  instructor  of 
piano-teachers  at  the  Broad  Street  Con- 
servatory in  Philadelphia,  and  in  1894  as 
director  of  the  piano-department  of  the 
Chicago  Conservatory.  In  1900  he  went  to 
Germany,  and  made  his  Berlin  d6but  in 
December.  For  nine  seasons  his  home  was 
there,  the  routine  of  teaching  being  varied  by 
many  concert-trips.  In  1909  he  was  made 
director  of  the  Master-School  of  Piano-Playing 
at  Vienna,  with  the  title  of  Imperial  Royal 
Professor.  In  1912  and  1913  he  made  tours 
in  America,  and  in  1914  again  located  in  the 
United  States.  Since  1918  he  has  held  mas- 
ter-classes for  piano-playing  on  the  Pacific 
Coast  and  in  the  West.  His  concert-tours 
have  been  almost  continual,  but  he  has  found 
time  also  to  prepare  and  edit  many  edu- 
cational works.  He  is  editor-in-chief  of  The 
Progressive  Series  of  Piano-Lessons,  1912 
(Art  Publication  Society,  St.  Louis).  Huneker 
calls  his  playing  'transcendental  .  .  it  is 
the  fine  equilibrium  of  intellect  and  emotion 
that  compels  admiration.'  His  compositions 
for  piano  are  as  follows  : 

Sonata  in  E  minor. 

24  'Walzermasken.' 

24  'Renaissance  Pieces.' 

53  Studies  on  Chopin's  jfitudes. 

Concert-Paraphrases  on  Weber's  'Moment©  Ca- 
priccioso,'  'Perpetuum  Mobile'  and  'Invita- 
tion to  the  Dance.' 

Cadenza  to  Beethoven's  4th  Concerto  in  G. 
(The  above  published  by  Schlesinger.) 

Symphonic  Metamorphoses  on  Joh.  Strauss' 
waltzes  'Kunstlerleben,'  'Fledermaus'  and  '  Wein, 
Weib  und  Gesang'  (Cranz). 

Concert-arrangement  of  Henselt's  'Si  oiseau 
j'^tais,'  op.  2,  no.  6  (Hofmeister). 

Concert-Studies  in  C  and  E-flat. 

Sarabande  in  C-sharp  minor. 

Menuet  in  A-flat. 

Courante  in  E  minor. 

'Ein  Dammerimgsbild'  in  E-flat. 


GOEPFART 


'GOLD' 


221 


'  Valse-Idylle '  in  E. 
Scherzino  in  C-sharp  minor. 

(The  above  published  by  Schirmer.) 
Toccata  ('Perpetuum  Mobile')  in  G-flat. 
'M^lodie  Meditative'  in  E-flat. 
Capriccio  in  C  minor. 
'  Arabesque  '  in  F. 
'  Barcarolle- Valse  '  in  F-A. 

Concert-Paraphrase  of  Chopin's  Waltz,  op.  18. 
Concert-Arrangement  of  Chopin's  Rondo  in  E-flat, 

op.  16. 

(The  above  published  by  Schmidt.) 
Nocturne,  'A  Night  in  Spring'  (Art  Publ.  Soc). 
12  'Impressions,'  for  violin  and  piano. 
4  'Impressions,'  for    'cello  and  piano. 
34   'Miniatures,'    for  piano,   4-hand3  —  developed 

from  five-tone  combinations. 

(The  above  published  by  Carl  Fischer.)       [  R.7  ] 

GOEPFART,    CHRISTIAN    HEINRICH 

(1835-1890).     See  Register,  6. 

GOEPP,  PHILIP  HENRY  (June  23,  1864, 
New  York),  in  1872-77  attended  school  in 
southern  Germany  and  began  to  study  the 
piano,  followed  by  further  training  in  organ 
and  theory  under  P.  B.  Sparks  in  New  York. 
In  1884  he  graduated  from  Harvard  and  took 
the  full  course  in  composition  under  Paine. 
He  then  became  a  law-student,  was  admitted 
to  the  bar  in  Philadelphia  and  wrote  articles 
on  legal  subjects.  Since  1891,  however,  music 
has  been  his  profession,  starting  with  supple- 
mental studies  with  W.  M.  Warner  (piano), 
Wood  (organ)  and  Clarke  (orchestration). 
In  1892  he  was  a  founder  of  the  Manuscript 
Music  Society  and  long  an  officer  in  it.  Since 
1900  he  has  prepared  the  program-notes  for 
the  Philadelphia  Orchestra.  He  is  organist 
at  the  First  Unitarian  Church  and  theory- 
professor  at  the  Temple  University,  besides 
much  general  teaching.  He  has  published 
a  fairy-opera,  'The  Lost  Prince,'  part-songs, 
madrigals,  anthems,  children's  songs  and  a 
'Lullaby'  for  violin.  He  has  besides  several 
orchestral  marches  (such  as  the  'Heroic' 
and  the  'Wedding'),  a  sonata  for  violin  and 
piano,  variations  for  organ,  many  pieces  for 
piano  or  violin,  a  Christmas  cantata  and 
many  songs.  He  is  most  widely  known  for 
his  Symphonies  and  their  Memiing,  3  vols., 
1898,  1902,  1913.  He  edited  Madeira's  Annals 
of  Music  in  Philadelphia,  1896,  and  has  written 
numerous  magazine  articles.     [  R.8  ] 

GOETSCHIUS,  PERCY  (Aug.  30,  1853, 
Paterson,  N.  J.),  until  twenty  assisted  his 
father  as  civil  engineer,  though  eagerly  using 
means  for  self-discipline  in  music.  In  1873 
he  entered  the  Stuttgart  Conservatory, 
studying  piano  with  Lebert  and  Pruckner, 
composition  with  Faiszt  and  instrumentation 
with  Doppler.  In  1876  he  began  to  teach 
the  theory-classes  and  in  1885  was  made 
Royal  Professor  in  theory  and  history  and 
became  critic  for  two  journals.  In  1890-92 
he  taught  at  Syracuse  University,  receiving  a 
Mus.D.  in  1892.     In  1892-96  he  was   at   the 


New  England  Conservatory,  and  in  1896-1905 
taught  privately  in  Boston.  Since  1905  he 
has  been  head  of  the  work  in  theory  and 
composition  at  the  Institute  of  Musical  Art 
in  New  York.  In  1897-1905  he  was  organist 
at  the  First  Parish  Church  in  Brookline. 

His  development  of  a  rational  and  com- 
prehensive system  of  theory-teaching  was 
partially  suggested  by  the  work  of  Faiszt, 
but  is  chiefly  due  to  his  own  persistent  efforts 
to  organize  tone-materials  and  show  reasons 
for  the  instinctive  impulses  of  genius  in  using 
and  applying  them,  to  lead  students  forward 
by  careful  stages  of  information  and  experi- 
ment, and  to  keep  their  work  vital  by  constant 
analysis  of  good  music.  In  pursuance  of  his 
ambition  he  has  produced  a  monumental 
series  of  text-books,  admirably  arranged  and 
abounding  in  original  definitions  and  directions. 
These  include  The  Material  Used  in  Musical 
Composition,  Stuttgart,  1882  (2nd  ed.,  rewritten, 
New  York,  1889,  14th  ed.,  rewritten.  1913), 
The  Theory  and  Practice  of  Tone-Relations, 
1892  (11th  ed.,  revised,  1900,  15th  ed.,  re- 
written, 1916),  Models  of  the  Principal  Music- 
Forms,  1894,  Historxj-Syllabus,  1894,  The  Homo- 
phonic  Forms  of  Musical  Composition,  1898, 
Exercises  in  Melody-Writing,  1900  (rewritten, 
1918),  Applied  Counterpoint  —  Invention,  Cho- 
rale-Elaboration, Fugue,  Canon,  1902,  Lessons 
in  Music-Form,  analysis  only,  1904,  Elementary 
Counterpoint,  1910,  The  Larger  Forms  of  Musi- 
cal Composition,  1915,  and  (with  Thomas  Tap- 
per) Essentials  in  Music-History,  1914. 

Unpublished  compositions  include  a  sym- 
phony, the  overtures  'Samson'  and  Christmas,' 
an  orchestral  suite,  three  concert-fugues  for 
piano,  and  many  smaller  pieces,  instrumental 
and  vocal.  Pie  has  published  a  piano-sonata 
in  B,  two  concert-fugues,  seven  Characteristic 
Pieces  in  waltz-rhythm,  a  Minuet,  a  Wedding- 
March  (also  organ),  two  Mazurkas,  a  Revery, 
six  anthems  and  the  song  'The  Lord  is  my 
Shepherd.'  He  has  edited  the  complete 
piano-works  of  Mendelssohn  (Cotta  Edition), 
Thirty  Compositions  of  Mendelssohn  (Ditson), 
an  analytic  edition  of  'The  Songs  without 
Words'  (Ditson),  etc.  He  is  one  of  the  editors 
of  The  School-Credit  Piano-Course  (Ditson). 
He  has  also  written  many  essays  and  articles 
for  musical  journals.     [  R.6  ] 

GOFF,  ANNA  CHANDLER.  See  Col- 
leges, 3  (Kentucky  Wesleyan  C). 

GOGORZA,  EMILIO  EDOARDO  DE  (b. 
1874).     See  Register,  8. 

'GOLD,'  a  'forest-play,'  was  No.  14  of  the 
'Grove-Plays'  of  the  Bohemian  Club  of 
California.  The  music  is  by  Humphrey  J. 
Stewart  and  the  text  by  Frederick  S.  Myrtle. 
It  was  given  in  August,  1916.  The  scene 
is  laid  in  a  California  forest,  at  first  in  pre- 
historic time  and  then  in  1776. 


222 


GOLDBECK 


GOODRICH 


GOLDBECK,  ROBERT  (Apr.  19,  1839, 
Potsdam,  Germany  :  May  16,  1908,  St. 
Louis) ,  was  first  trained  in  piano  and  harmony 
by  his  uncle,  Louis  Kohler,  and  later  studied 
with  Litolff.  After  sojourns  in  Paris  and 
London,  he  came  to  New  York  in  1857  as 
teacher  and  composer.  In  1867  he  assisted 
Tourjee  in  establishing  the  New  England 
Conservatory  in  Boston,  but  in  1868  moved 
to  Chicago  and  started  another  there.  In 
1873-78  he  was  in  St.  Louis  as  conductor  of 
the  Harmonic  Society  and  one  of  the  directors 
of  the  Beethoven  Conservatory.  He  then 
moved  from  place  to  place  —  New  York  in 
1880-85,  Germany  in  1886-91,  St.  Louis  in 
1891-94,  Chicago  in  1894-99,  London  in 
1899-1903,  St.  Louis  in  1903-08.  He  com- 
posed two  operas,  'Saratoga'  and  'Newport' 
(1888);  the  operetta  'The  Soldier's  Return'; 
the  cantata  'The  Song  of  the  Brave  Man';  a 
symphony,  'Victoria' ;  other  works  for  orches- 
tra ;  two  piano-concertos ;  a  string-sextet ;  a 
piano-quintet;  songs,  choruses,  and  many 
piano-pieces.  He  compiled  Three  Graduating 
Courses,  6  vols,  (piano,  voice  and  'cello),  a 
Harmony,  1890,  and  an  Encyclopwdia  of  Musi- 
cal Education,  3  vols.,  1903.     [  R.4  ] 

GOLDBLATT,  MAURICE  HENRY  (b. 
1883).     See  Register,  9. 

'GOLDEN  LEGEND,  THE.'  A  cantata 
by  Dudley  Buck  on  a  text  taken  from  Long- 
fellow. It  won  the  $1000  prize  of  the  Cin- 
cinnati Festival  Association  and  was  first 
given  there  in  1880. 

GOLDMARK,  RUBIN  (Aug.  15,  1872, 
New  York),  is  a  nephew  of  Karl  Goldmark, 
the  Austrian  composer.  His  general  education 
was  at  the  College  of  the  City  of  New  York 
and  the  University  of  Vienna.  He  studied 
piano  as  a  boy  with  Alfred  von  Livonius  in 
New  York,  and  in  1889-91  attended  the 
Vienna  Conservatory,  under  Door  (piano) 
and  the  Fuchs  brothers  (theory).  Returning 
to  New  York,  he  studied  with  Joseffy  and 
Dvordk  at  the  National  Conservatory,  becom- 
ing teacher  of  piano  and  theory  there.  In 
1894  he  went  to  Colorado  Springs  for  his 
health,  and  was  director  of  the  Colorado  College 
Conservatory.  Since  1902  he  has  been  in- 
structor in  theory  and  lecturer  in  New  York, 
with  about  500  lecture-recitals  in  the  United 
States  and  Canada.  He  was  one  of  the 
founders  of  'The  Bohemians'  and  its  presi- 
dent in  1907-10.  His  compositions  for  or- 
chestra are  the  overture  'Hiawatha'  (1900, 
Boston  Symphony  Orchestra),  the  tone- 
poem  'Samson'  (1914,  Boston),  and  the  tone- 
poem  'Requiem  for  Orchestra,'  suggested 
by  Lincoln's  Gettysburg  address  (1919,  New 
York  Philharmonic  Society).  He  has  also  a 
piano-trio  in  D  minor,  a  violin-sonata  in  B 
minor,    and    a    string-quartet    in    A,    besides 


piano-pieces  ('Twilight  Fantasies,'  'In  the 
Forest,'  'Prairie  Idylls'),  four  pieces  for 
violin  and  piano,  a  Romanza  for  'cello,  songs 
and  choruses.     [  R.8  ] 

GOMES,  ANTONIO  CARLOS  (1839- 
1896).     See  Vol.  ii.  200,  and  Register,  5. 

GOMES  DE  ARAN  JO,  JOAO  (b.  1849). 
See  Register,  7. 

GOODALE,  EZEKIEL  (1780-  ?  ).  See 
Tune-Books,  1817. 

GOODRICH,  ALFRED  JOHN  (May  8, 
1847,  Chilo,  O,  :  April  25,  1920,  Paris),  was 
self-taught  in  music.  His  general  education 
was  in  the  public  schools  of  Sacramento  and 
San  Francisco.  For  a  time  he  taught  theory 
at  the  Grand  Conservatory  in  New  York,  but 
in  1876  went  to  the  Fort  Wayne  (Ind.)  Con- 
servatory. For  two  years  he  was  music- 
director  at  Martha  Washington  College, 
Abingdon,  Va.  He  also  taught  in  Chicago, 
was  director  of  the  vocal  department  of  the 
Beethoven  Conservatory  in  St.  Louis,  and 
lived  in  Paris  in  1909-15.  His  books  are 
Music  as  a  Language,  1880,  The  Art  of  Song, 
1888,  Complete  Musical  Analysis,  1889,  Ana- 
lytical Harmony,  1894,  The  Theory  of  In- 
terpretation, 1898,  and  A  Guide  to  Memorizing 
Music,  1904  (revised,  1906).  A  treatise  on 
Synthetic  Cou7iter point  is  still  unpublished. 
On  hearing  Tchaikovsky's  5th  Symphony  he 
destroyed  his  early  compositions,  with  the 
exception  of  a  suite  for  piano.  The  list  as 
it  now  stands  includes  a  cantata,  an  over- 
ture, several  orchestral  works,  chamber-music' 
piano-pieces  and  songs.     [  R.6  ] 

GOODRICH,  FREDERICK  WILLIAM 
(b.  1867).     See  Register,  9. 

GOODRICH,  JOHN  WALLACE  (May  27, 
1871,  Newton,  Mass.),  began  piano-study 
while  in  school,  continuing  later  with  Peter- 
silea.  He  was  already  an  organist  at  fifteen 
and  had  three  years'  training  with  Dunham 
in  organ  and  with  Chadwick  in  composition. 
He  became  organist  at  the  Eliot  Church  in 
Newton  and  gave  frequent  recitals.  In  1894 
he  went  to  Munich  for  work  under  Rhein- 
berger  and  Abel,  and  in  1895  won  a  medal  and 
gave  a  choral  work  with  orchestra.  In  1895- 
96  he  was  in  Paris  with  Widor,  and  in  1896-97 
was  coach  and  ballet-conductor  at  the  Leipzig 
Stadt-Theater.  Since  1897  he  has  taught 
organ  at  the  New  England  Conservatory  in 
Boston,  where  in  1905-06  he  was  acting- 
director  and  since  1907  dean.  In  1900-02 
he  was  organist  at  the  Church  of  the  Messiah, 
and  in  1902-09  at  Trinity  Church.  In 
1897-1909  he  was  organist  for  the  Boston 
Symphony  Orchestra,  several  times  appearing 
as  soloist.  He  still  gives  occasional  recitals. 
He  has  been  equally  active  as  conductor, 
organizing  the  Choral  Art  Society  in  1902  and 
leading  it  till  1908,  directing  the  choral  work 


GOODRICH 


GORNO 


223 


of  the  Worcester  Festivals  in  1902-07,  having 
charge  of  the  Cecilia  Society  in  1907-10,  and 
in  1907  conducting  the  orchestral  concerts 
at  Jordan  Hall.  From  the  inception  of  the 
Boston  Opera  Company  in  1909  he  was  one 
of  the  regular  conductors,  continuing  till  the 
Company  disbanded  in  1912.  He  has  pub- 
lished an  'Ave  Maria,'  after  Scheflel,  for 
chorus  and  orchestra,  and  'Choral  Music 
for  a  Requiem  Celebration  of  the  Holy  Eucha- 
rist' (1918).  He  has  translated  Pirro's 
J.  S.  Bach  and  his  Works  for  the  Organ,  1902, 
and  Niedermeyer  and  d'Ortigue's  Gregorian 
Accompaniment,  1905,  and  has  written  The 
Organ  in  France,  1917,  and  some  essays  on 
organ-building,  Gregorian  music,  etc. 

Besides  his  sympathy  with  the  French  school 
of  organ-playing  he  is  interested  in  all  prob- 
lems of  church-music.  In  1918-19  he  was  on 
the  commission  for  revising  the  Episcopal 
Hymnal.  He  is  chairman  of  the  Music  Com- 
mittee of  the  City  of  Boston.  During  the  war 
he  was  greatly  interested  in  everything  relating 
to  band-music  and  held  more  than  one  super- 
visory office.  In  1918  he  had  just  outlined  an 
extensive  plan  to  train  band-players  throughout 
the  country  when  the  signing  of  the  armistice 
cut  short  all  vocational  training.     [  R.7  ] 

GOODRICH,  WILLIAM  M.  (1777-1833?). 
See  Register,  3. 

JGOOSSENS,  EUGENE  (May  26,  1893, 
London),  the  son  of  a  former  opera-conductor 
of  the  same  name,  first  studied  at  the  Bruges 
Conservatory  and  the  Liverpool  College  of 
Music.  In  1907-11  he  held  a  scholarship  at 
the  Royal  CoUege  of  Music  in  London,  taking 
composition  with  Wood  and  Stanford  and 
violin  with  Rivarde,  and  winning  the  Worship- 
ful Company  of  Musicians'  silver  medal. 
In  1911-15  he  played  violin  in  the  Queen's 
Hall  Orchestra,  resigning  to  become  one  of 
Beecham's  assistant-conductors.  His  orches- 
tral works  began  to  be  heard  in  1912-13,  when 
his  op.  1  was  given.  The  list  of  his  works  is 
as  f oUows : 

op.    1    'Variations  on  a  Chinese  Theme,'  for  or- 
chestra (1911). 

2  'Miniature    Phantasy,'   for    string-orches- 

tra (1911)  (Goodwin  &  Tabb). 

3  Octet   for   flute,  clarinet,  horn,   harp   and 

strings  (1911). 
4a    'Chinese  Folk-Song,'  for  violin  and  piano 

(1912)  (Goodwin  &  Tabb). 
4&    Serenade  for  flute. 

5  '  Five  Sketches  '  for  flute,  violin  and  piano 

(1912). 

6  Suite  —  Impromptu,     Serenade,     Diver- 

tissement —  for  flute,  violin  and  harp 
(1913,  Chester). 

7  '  Five  Impressions  of  a  Holiday'  — ■ '  In  the 

Hills,'  'By  the  Rivers,'  'The  Water- 
Wheel,' 'The  Village  Church,'  'At  the 
Fair'  (1914,  Chester). 

8  Symphonic  Poem,  'Perseus,'  for  orches- 

tra (1914). 


op.  9  Songs,  'Chanson  de  Fortunio,'  'Chanson 
de  Barberine,'  from  Alfred  de  Musset 
(1914,  Chester). 

10  Concert-Study  for  piano  (1915,  Chester). 

11  Symphonic  Prelude  to  a  poem  of  Ossian, 

for  orchestra  (1915). 

12  Fantasy  for  string-quartet    (1916,  Ches- 

ter). 

13  Rhapsody    for    'cello    and    piano    (1916, 

Chester). 

14  String-Quartet  in  C  (1916,  Chester). 

15  '  Two  Sketches  '  —  'By  the  Tarn,'  'Jack 

o'  Lantern'  —  for  string-quartet  (1916, 
Chester). 

16  'Deux  Proses  Lyriques'  —  'Hier  dans  le 

jardin  ensoleill^-,'  'Mon  chemin  s'^tait 

assombri'  —  from  Edwin  Evans  (1916, 

Chester). 
17a    Scherzo, 'Tarn  o'  Shanter,'   for  orchestra 

(1916). 
176      '  Persian    Idylls '  —  '  Breath     of      Ney,' 

'  Heart      of      Kalyan '  —  from     Evans 

(1916,  Chester). 

18  'Kaleidoscope,'     12     short     piano-pieces 

(1917-18,  Chester). 

19  Songs:      'Afternoon'      by     Jean-Aubry, 

'Epigram'  by  Evans,  'Tea-Time'  by 
Jean-Aubry  (1917,  Chester). 

20  '  Four  Conceits  '  for  piano  —  '  The  Gar- 

goyle,' 'Dance-Memories,'  'A  Walk- 
ing-Tune , '  'The  Marionette-Show ' 
(1918,  Chester). 

21  Sonata     for     violin     and     piano     (1918, 

Chester) . 

23  Overture     and     Incidental     Music     for 

Verhaeren's  'Philip  11'  (1918). 

24  Quintet  in  one  movement  for  piano  and 

strings  (1919). 

See  sketch  by  Edwin  Evana  in  '  The  Musical 
Tin:ies,'  July,  1919. 

GORDON,  HAMILTON  S.,  of  New  York, 
is  the  name  of  ^  music-publishing  business 
founded  in  1846  by  Stephen  T.  Gordon,  pre- 
viously an  organist  and  teacher  in  Hartford, 
Conn.  In  1854-55  the  firm-name  was  Berry 
&  Gordon  (S.  T.  Gordon,  T.  S.  Berry,  Oliver 
Ditson  and  J.  E.  Gould),  and  they  sold  pianos 
and  organs  as  well  as  music.  This  business 
was  conducted  under  Gordon's  name  again 
in  1855-73,  in  1873,  Hamilton  S.  Gordon 
coming  in,  as  S.  T.  Gordon  &  Son,  and  since 
1891  as  at  present.  S.  T.  Gordon  died  in 
1891  and  H.  S.  Gordon  in  1914.  The  present 
partners  are  the  latter's  four  sons.  From 
1894  the  scope  of  the  business  was  enlarged 
to  include  musical  instruments  generally  and 
Edison  phonographs.  In  1905  the  piano- 
making  was  transferred  to  the  Gordon  Piano 
Co.,  and  soon  the  firm  concentrated  its  at- 
tention upon  publishing  alone.  In  1913  it 
moved  to  its  present  location  at  141-145 
West  36th  St.  At  various  times  they  have 
issued  a  large  amount  of  useful  literature, 
especially  for  the  organ  and  for  piano-teaching. 

GORITZ,  OTTO  (b.  1873) .     See  Register,  9. 

GORNO,  ALBINO  (Casalmorano,  Italy), 
was  taught  piano,  organ  and  harmony  by  his 
father,  entered  the  Milan  Conservatory  and 


224 


'GOSPEL  HYMNS' 


GOTTSCHALK 


at  graduation  received  three  gold  medals. 
He  came  to  America  in  1881  as  pianist  and 
accompanist  for  Patti,  and  remained  as 
teacher  at  the  Cincinnati  College  of  Music, 
where  for  years  he  has  been  head  of  the  piano- 
department.  His  compositions  include  a 
'Cantata  to  Garibaldi'  (1882,  New  York); 
'La  Festa  dei  Montanari,'  cantata  for  voices, 
piano  and  orchestra ;  an  operetta,  '  Cuore  e 
Patria'  (1881?,  Milan);  a  'Marinaresca'  for 
piano  and  orchestra ;  many  piano-pieces, 
songs  and  choruses.  His  Material  for  the 
Study  of  the  Pianoforte-Pedals,  3  parts,  1894- 
1900,  is  an  exhaustive  treatise,  with  numerous 
classical  and  original  examples.     [  R.7  ] 

'GOSPEL  HYMNS.'  The  title  of  a  series 
of  evangelistic  hymn-books  with  tunes  pub- 
lished in  1875-91.1  Their  remarkable  vogue 
caused  the  name  to  be  popularly  applied  to 
all  hymns  and  tunes  of  a  similar  type.  Neither 
title  nor  type  was  new.^  Both  words  and 
music  of  this  order  had  been  in  use  in  America 
—  as  also  in  England  —  from  early  in  the 
19th  century,  especially  on  occasions  that 
were  then  novel,  such  as  prayer-meetings, 
Sunday-schools  and  revivals.  The  issue  of 
books  with  such  music  gradually  increased  till 
about  1860  and  then,  under  several  magnetic 
leaders,  rapidly  came  to  astonishing  propor- 
tions.' The  movement  constituted  a  historic 
phenomenon  that  justifies  remark. 

The  type  of  tune  was  essentially  that  of 
the  folk-song,  though  not  based  upon  actual 
songs  of  that  kind.  Salient  features  are  an 
obvious  melody  upon  a  simple  harmonic 
basis  (usually  without  modulation),  with  the 
metric  pattern  often  varied  by  divided  pulses 
and  other  devices,  a  tendency  to  unify  couplets 
more  than  lines,  and  a  decided  rhythmic  swing 
and  flow.  In  these  regards  the  type  was  in 
grateful  contrast  with  the  traditional 
'psalmody.'  There  was  nothing  to  compete 
with  it  in  arresting  popular  attention.  Even 
down  to  the  end  of  the  century  it  circulated 
widely  among  thousands  to  whom  more  so- 
phisticated music  was  wholly  unknown. 
Such  tunes,  with  their  lilting,  ballad-like 
verses,  were  seized  upon  because  in  a  way 
they  met  the  craving  for  folk-music.  Here 
and  there  in  the  vast  literature  are  songs  of 
homely  naivete  and  even  beauty.  But  as 
early  as  1850  and  much  more  after  the  success 
of    Phillips,    Bliss    and    Sankey    about    1870, 

>  No.  1,  by  Bliss  and  Sankey;  No.  2,  1876;  No.  3, 
by  Sankey,  McGranahan  and  Stebbins,  1878;  No.  4, 
1881 ;  No.  5,  1887 ;  No.  6,  1891 ;  with  several  issues  in 
combination. 

2  For  example,  '  Gospel  Melodies '  (hymns)  was 
issued  in  1821,  '  Gospel  Hymns'  in  1864  and  'Gospel 
Songs,'  by  Bliss,  in  1874. 

'  The  total  number  of  distinct  books  of  this  class 
published  during  the  century  was  probably  not  far 
from  1500.  Of  those  by  a  single  compiler  (Sankey) 
more  than  50,000,000  copies  were  sold  ! 


the  commercial  element  tended  to  vitiate  the 
type.  Both  hymns  and  tunes  were  mechan- 
ically produced  in  large  quantities,  and 
promoters  arranged  '  conventions '  and  the  like 
to  sell  their  books.  So  'catchy'  was  the 
style  —  like  that  of  the  war-songs  in  the 
'60s  and  recently  —  that  it  tended  to  prevent 
attention  to  better  styles.  Hence  the  fre- 
quent view  that  the  whole  movement  is  to 
be  condemned.  Yet  it  presents  some  analogies 
to  much  more  dignified  movements  in  England, 
where,  however,  conditions  favored  the 
development  of  the  highly  lyrical  hymn  and 
the  artistic  part-song  tune.  Nothing  similar 
was  possible  in  America  till  long  after  the 
modern  forms  were  well  established  in  Eng- 
land. Instead  of  the  part-songs,  the  har- 
monized rhythmic  air  was  inevitably  pushed 
to  the  front,  and  the  desire  for  immediate 
success  with  the  thoughtless  multitude  kept 
down  efforts  to  give  the  style  distinction. 

Regarding  the  'Gospel  Hymns'  proper 
Sankey  wrote  in  My  Life  and  the  Story  of  the 
Gospel  Hymns,  1906.  Of  much  broader  scope 
and  higher  value  is  J.  H.  Hall,  Biography  of 
Gospel  Song  and  Hymn  Writers,  1914.  The 
list  of  tune-writers  and  compilers  in  this 
latter  includes  about  65  persons  at  work 
before  1890,  of  whom  the  most  notable  are 


William  B.  Bradbury 
George  F.  Root 
Luther  O.  Emerson 
TuUius  C.  O'Kane 
Theodore  E.  Perkins 
William  H.  Doane 
Horatio  R.  Palmer 
Philip  Phillips 
Robert  Lowry 
Henry  S.  Perkins 
Rigdon  M.  Mcintosh 
Hubert  P.  Main 
William  J.  Kirkpatrick 
T.  Martin  Towhe 
Elisha  A.  Hoffmann 
William  G.  Fischer 
Theodore  F.  Seward 
John  R.  Sweney 
Philip  P.  Bliss 
Ira  D.  Sankey 
Isaiah  Baltzell 
William  A.  Ogden 
George  C.  Hugg 
James  McGranahan 
Charles  C.  Case 
James  R.  Murray 
John  H.  Tenney 
Benjamin  C.  Unseld 
Daniel  B.  Towner 
George  C.  Stebbins 


(1816-1868) 
(1820-1895) 
(1820-1915) 
(1830-1912) 
(1831-  ) 
(1832-1915) 
(18.34-1907) 
(1834-1895) 
(1826-1899) 
(18.38-1914) 
(1836-1899) 
(1839-  ) 
(1838-  ) 
(1835-  ) 
(1839-  ) 
(1835-1912) 
(1835-1902) 
(1837-1899) 
(1838-1876) 
(1840-1908) 
(1832-1893) 
(1842-1897) 
(1848-1907) 
(1840-1897) 
(1843-  ) 
(1841-1905) 
(1840-  ) 
(1843-  ) 
(1850-1919) 
(1846-         ) 


GOSS,  EDWIN  L.  See  Colleges,  3 
(Bates  C,  Me.). 

GOTTSCHALK,  L.  GASTON  (1847-  ?  ). 
See  Register,  6. 

GOTTSCHALK,  LOUIS  MOREAU  (May 
8,  1829,  New  Orleans  :  Dec.  18,  1869,  Rio 
de  Janeiro,  Brazil).  See  article  in  Vol.  ii. 
205.     His  first  studies  were  on  the  violin  when 


GOULD 


GRAINGER 


225 


only  six;  piano-study  came  later.  Zimmer- 
man, then  head  of  the  piano-department  of 
the  Paris  Conservatory,  refused  even  to  hear 
the  boy  as  a  candidate ;  ten  years  later 
Gottschalk  was  himself  judge  at  a  Conser- 
vatory concours.  His  first  appearance  in 
Paris  was  at  the  Salle  Ployel  in  April,  1844, 
and  Chopin  then  said  to  him,  'I  predict  you 
will  become  a  king  of  pianists.'  A  few  years 
later  Berlioz  wrote  that  'he  possessed  all  the 
different  elements  of  a  consummate  pianist.' 
His  first  New  York  concert  was  at  Niblo's 
on  Feb.  10,  1853.  He  refused  Barnum's 
offer  of  $20,000  and  all  expenses  for  a  year's 
engagement.  In  the  winter  of  1855-56  he 
gave  eighty  concerts  in  New  York.  The  years 
1856-62  were  'squandered,'  to  use  his  own 
words,  in  the  West  Indies.  He  reappeared 
in  New  York  at  Irving  Hall  in  1862,  and  in  the 
next  three  years  gave  concerts  constantly  in 
the  North  and  Canada.  In  1865  he  visited 
California,  going  thence  to  Panama,  Peru, 
Chili  and  finally  Rio  de  Janeiro,  where  he 
arrived  in  May,  1869.  His  last  concert  was 
Nov.  24,  1869.  His  body  was  brought  to 
New  York,  where  services  were  held  at  St. 
Stephen's  Church  on  Oct.  30,  1870.  See 
Hensel,  Life  and  Letters  of  Louis  Moreau 
Gottschalk,  1870,  Fors,  Gottschalk,  1880,  and 
Petersen,  Notes  of  a  Pianist,  1881.     [  R.4  ] 

GOULD,  JOHN  EDGAR  (1822-  ?  ).  See 
Tune-Books,  1846. 

GOULD,  NATHANIEL  DUREN  (1781- 
1864) .    See  Register,  3,  and  Tune-Books,  1822. 

GOW,  GEORGE  COLEMAN  (Nov.  27, 
1860,  Ayer  Junction,  Mass.),  graduated  from 
Brown  University  in  1884  and  from  Newton 
Theological  Seminary  in  1889.  His  chief 
musical  training  was  under  B.  C.  Blodgett 
in  Pittsfield  and  E.  B.  Story  in  Worcester, 
and  from  1889  he  was  associated  with  them 
as  teacher  of  piano  and  harmony  at  Smith 
College.  In  1892-93  he  studied  with  Bussler 
in  Berlin.  Since  1895  he  has  been  professor 
at  Vassar  College,  where  he  has  developed  a 
highly-organized  department  of  music.  His 
first  book  of  songs  appeared  in  1884,  with 
several  others  later,  besides  duets  and  part- 
songs.  He  is  the  author  of  a  striking  treatise 
on  harmony.  The  Structure  of  Music,  1895, 
and  wrote  the  articles  on  Harmony  and 
Theory  in  the  American  History  and  Encyclo- 
pedia of  Music,  1910,  besides  many  essays 
in  periodicals.  Brown  University  made  him 
Mus.D.  in  1903.     [  R.7  ] 

GOWEN,  EDWm  A.  See  Colleges,  3 
(AsburyCKy.). 

GRABILL,  E.  W.  See  State  TJNivEBSiTiEa 
(S.D.). 

GRABILL,  GLENN  G.  See  Colleges,  3 
(Otterbein  C,  Ohio). 

GRAINGER,  PERCY  ALDRIDGE  (July 


8,  1882,  Melbourne,  Australia).  See  article 
in  Vol.  V.  643.  Though  a  composer  from 
childhood,  his  first  appearance  as  such  was  at 
a  Balfour  Gardiner  concert  in  London  in 
1912,  when  he  conducted  his  'Mock  Morris.' 
His  American  debut  in  recital  was  at  New 
York  on  Feb.  11,  1915;  on  Mar.  13  he  played 
the  Grieg  concerto  with  the  New  York  Phil- 
harmonic Society.  In  June,  1917,  he  enlisted 
as  a  bandsman  in  the  Army,  playing  oboe  and 
saxophone ;  a  year  later  he  became  instructor 
at  the  Army  Music-School  and  became  a  nat- 
uralized citizen.  His  extraordinary  success  as 
virtuoso  is  equaled  by  that  of  his  compositions. 
Of  him  Cyril  Scott  has  written  ('  Musical  Quar- 
terly' July,   1916)  : 

'Contemplating  Grainger's  entire  musical  per- 
sonality (for,  I  would  repeat,  this  is  essential)  I  see 
in  him  all  those  elements  which  make  the  'immortal 
artist.'  For  he  exists  as  something  quite  new  in 
musical  expressibility ;  he  has  mvented  new  forms 
or  considerably  enlarged  and  transformed  old  ones ; 
he  is  a  great  harmonic  inventor,  yet,  unlike  Schonberg, 
he  does  not  lead  us  into  the  excruciating.  Further- 
more, although  at  times  he  is  a  little  too  unafraid 
of  the  obvious,  he  is  entirely  consistent  therein  and 
one  sees  at  once  how  little  such  a  thing  is  the  out- 
come of  weakness.  In  addition  to  all  these  char- 
acteristics, he  can  equally  show  forth  a  poetry 
and  pathos  which  speak  in  sublime  dulcitude  to  the 
soul,  and  a  rollicking  liveliness  which  awakens 
energy  almost  in  the  limbs  of  the  decrepit.  Can 
one  demand  a  more  all-encompassing  plane  of 
emotions  in  one  individuality  than  this?  Truly 
it  were  difficult  to  find.' 

Of  his  extensive  total  composition  only 
about  one-third  is  as  yet  published.  The 
present  list  is  as  follows : 

Suite,  'In  a  Nutshell'  —  'Arrival,  Platform  Hum- 
let,'  'Gay,  but  Wistful,'  'Pastoral,'  'The  Gum- 
suckers'  March' — for  orchestra,  piano  and 
Deagan  percussion-instruments,  also  for  piano 
solo,  two  pianos  and  (in  part)  theater-orches- 
tra (Schirmer). 

'Molly  on  the  Shore,'  for  orchestra,  also  for  theater- 
orchestra,  various  smaller  combinations  and 
piano  solo  (Schott). 

'Shepherd's  Hey,'  morris-dance  for  orchestra 
(Schott),  also  for  12  instruments  (Schott), 
military  band  (Carl  Fischer),  piano  solo 
(Schirmer). 

'Colonial  Song,'  for  violin,  viola,  'cello,  harp  and 
orchestra,  also  for  various  other  combinations 
(Schott). 

'Mock  Morris,'  for  7-part  string-orchestra,  also 
for  other  combinations  (Schott)  and  string- 
sextet  (Schirmer). 

'Irish  Tune  from  County  Derry,'  for  string- 
orchestra  or  a  cappella  chorus  (Schott),  also 
for  military  band  (Fischer)  and  piano  solo 
(Schirmer). 

Clog-Dance,  'Handel  in  the  Strand,'  for  one  or 
more  pianos  and  string-orchestra,  also  for  other 
combinations  (Schott). 

Octet,  'My  Robin  is  to  the  Greenwood  Gone,'  for 
flute,  English  horn  and  strings,  also  as  piano- 
trio  and  for  piano  solo  (Schott). 

Wind-Quintet,  'Walking-Tune,'  for  flute,  oboe, 
clarinet,  horn  and  bassoon,  also  for  piano  solo 
(Schott). 


226 


GRAM 


GRASSE 


'La    Scandinavie,'    a    group    of    melodies    freely- 
arranged  for  'cello  and  piano,  also  (in  part)  for 

violin  and  piano  (Schott). 
'The    Sussex    Mummers'    Christmas    Carol,'    for 

piano  (Schott),  also  for  violin  or  'cello  and  piano 

(Schirmer). 
Paraphrase    of    the    'Flower-Waltz'    from    Tchai- 
kovsky's 'Nutcracker'  Suite,  for  piano  (Schott). 
Arrangement   of   Stanford's   'Four   Irish   Dances,' 

for  piano  (Stainer  &  Bell). 
'Knight    and    Shepherd's    Daughter,'    for    piano 

(Schott). 
'Children's  March,'  for  piano  (Schott). 
'One  more  day,  my  John,'  sea-eh;inty  in  the  form 

of  a  'preliminary  canter,'  for  piano  (Schirmer). 
Lullaby    from    "Tribute     to     Foster,'    for     piano 

(Schirmer). 
'The    Bride's    Tragedy,'    for   double    chorus    and 

orchestra  (Schott). 
'Father    and     Daughter,'     dance-song    from    the 

Faroe  Islands,  for  five  male  soli,  double  chorus 

and  orchestra  (Schott). 
'Sir  Eglamore,'   for  double  chorus,  and  orchestra 

(Schott). 
'The  Camp'  and  'March  of  the  Men  of  Harlech,' 

two  Welsh  fighting-songs,  for  double  chorus  and 

orchestra  (Schott). 
'  The  Hunter  in  his  Career,'  for  double  men's  chorus 

and  orchestra  (Schott). 
'Marching-Song   of    Democracy,'    for    chorus,   or- 
chestra and  organ  (Schirmer). 
'The  Merry  Wedding,'  bridal  dance  for  soli,  chorus 

and  orchestra,  organ  ad  lib.  (Ditson). 
'We  have  fed  our  seas  for  a  thousand  years,'  from 

Kipling,    for    chorus    and    orchestra    or    brass 

(Schott). 
'Marching-Tune,'  Lincolnshire  folk-song,  for  chorus 

and  brass  (Schott). 
'I'm  seventeen  come  Sunday,'  for  chorus  and  brass 

(Schirmer). 
'Brigg  Fair,'  Lincolnshire  folk-song,  for  tenor  and 

a  cappella  chorus  (Schott). 
'At  Twilight,'  for    tenor    and    a    cappella    chorus 

(Schott). 
'Morning-Song  in  the  Jungle'  and  'The  Innuit,' 

from  Kipling,  for  a  cappella  chorus  (Schott). 
'A    Song    of    Vermland,'    for    a    cappella    chorus 

(Schott). 
'Tiger,  Tiger,'  from  Kipling,  for  a  cappella  men's 

chorus,  tenor  ad  lib.  (Schott). 
'There  was  a  pig  went  out  to  dig,'  for  a  cappella 

women's  chorus. 
'Willow,   Willow,'   old   English   song,   with   guitar 

or  harp  and  strings  (Schott)  or  piano  (Schirmer). 
'Died  for  Love,'  Lincolnshire  folk-song,  with  three 

strings  or  wood-winds  or  piano  (Schott). 
'Dedication,'    from    Kipling,     song    with    piano 

(Schott). 
'A   Reiver's   Neck-Verse,'   from   Swinburne,   song 

with  piano  (Schott). 
'Six  dukes  went  a-fishin','  Lincolnshire  folk-song, 

with  piano  (Schott). 

See  Parker,  Percy  Aldridge  Grainger,  a  Study, 
1918,  and  the  article  in  'The  Musical  Quar- 
terly' quoted  above.     [  R.IO  ] 

GRAM,  HANS.     See  Tune-Books,  1793. 

t  GRANADOS  Y  CAMPINA,  ENRIQUE 
(July  27,  1867,  L6rida,  Spain  :  Mar.  24, 
1916,  at  sea'),  in  1884-87  studied  under 
Pujol   at   Barcelona   and    PedrcU   at    Madrid 

•  While  escaping  from  the  '  Sussex,'  torpedoed  by  a 
German  submarine, 


and  then  went  to  Paris,  where  he  attended 
de  B6riot's  class  at  the  Conservatory  inter- 
mittently because  of  ill-health.  His  zarzuela 
'Maria  del  Carmen'  was  performed  at  the 
Royal  Theater  in  Madrid  in  1898.  Part  of 
'FoUeto'  was  given  at  Barcelona  in  1903. 
'Goyoscas'  dates  from  1899.  Not  satisfied 
with  its  original  form,  he  made  from  it  a  piano- 
suite  (played  in  America  by  Schelling),  and 
later  rewrote  the  opera  to  a  new  libretto  by 
Fernando  Periquet.  This  was  accepted  at 
the  Paris  Grand-Opera  for  1914-15,  but  given 
up  because  of  the  war.  Its  premiere  was 
at  the  Metropolitan  Opera  House  in  New 
York  on  Jan.  28,  1916 — the  first  Spanish 
opera,  sung  in  Spanish,  given  in  the  United 
States.  Both  composer  and  librettist  were 
present.  It  had  five  performances,  with  fair 
success.  On  Feb.  22  the  composer  and  Miss 
Fitziu,  the  soprano,  gave  a  recital  of  his  music 
at  iEolian  Hall.  His  other  works  are  the 
opera  'Miel  de  la  Alcarria'  (1893);  two 
symphonic  poems,  'La  Nit  del  Mort'  and 
'Dante'  (the  latter  played  by  the  Chicago 
Symphony  Orchestra  in  1915,  with  Miss 
Braslau  as  contralto);  'Elisenda,'  a  poem 
for  voice  and  small  orchestra;  a  quartet  for 
strings  and  piano ;  a  trio ;  songs ;  and  a 
number  of  piano-pieces,  of  which  the  two 
books  of  'Goyescas'  are  most  significant. 
See  articles  by  Jean-Aubry  in  'The  Musical 
Times,'  December,  1916,  and  by  Newman, 
ibid.,  August,  1917. 

GRAND  CONSERVATORY,  THE,  of 
New  York,  was  founded  in  1874  by  Ernst 
Eberhard,  who  directed  it  for  about  forty 
years.  Its  plan  was  ambitious  and  for  many 
years  it  had  much  success. 

GRANT-SCHAEFER,  GEORGE  AL- 
FRED (b.  1872).     See  Register,  8. 

GRASSE,  EDWIN  (Aug.  13,  1884,  New 
York),  despite  the  handicap  of  blindness  from 
infancy,  has  made  an  enviable  record  as 
violinist,  pianist  and  composer.  As  a  child 
he  studied  violin  and  harmony  with  Carl 
Hauser.  In  1898  he  went  to  study  with 
Thomson  in  Brussels,  and  became  a  pupil 
of  the  Royal  Conservatory,  where  in  1900  he 
won  a  first  prize  and  in  1901  was  awarded 
the  'Prix  de  Capacite,'  'with  the  very  highest 
distinction.'  On  Joachim's  advice  he  made 
his  Berlin  debut  in  1902  with  the  Philharmonic 
Orchestra,  playing  the  Sinding  concerto.  His 
d6but  in  New  York  was  with  the  Brahma 
concerto  in  1903.  He  has  toured  with  success 
in  both  Europe  and  America.  His  published 
compositions  for  violin  and  piano  are  a  Sonata 
in  C  (Schirmer) ;  a  Scherzo  Capriccioso  and 
'  Waves  at  Play '  (Schirmer) ;  a  Song  without 
Words,  no.  2,  in  G,  'In  a  Rowboat'  and 
Polonaise,  no.  1,  in  C  (Carl  Fischer)  ;  and  an 
Arioso  and  Scherzo  in  A  minor  (Boston  Music 


GRASSI 


GRECHANINOV 


227 


Co.).  In  manuscript  are  a  Symphony  in  G 
minor ;  an  orchestral  Suite  in  C ;  two  trios 
(C  and  A)  for  piano,  violin  and  'cello ;  a 
Concerto  in  G  for  violin  and  orchestra;  a 
String-Quartet  in  D  minor ;  sonatas  for  piano 
and  violin  (A,  E  and  A  minor)  and  a  sonata 
for  organ  and  violin  in  D ;  a  duet  for  two 
unaccompanied  violins;  many  other  pieces 
for  violin  and  piano  and  piano  solo ;  a  '  Sonata- 
Fan  tasie  '  in  G-sharp  minor  for  organ ;  and 
a  number  of  transcriptions  for  organ  (including 
symphonic  movements  by  Beethoven,  Brahms 
and  Tchaikovsky).     [  R.9  ] 

GRASSI,  ANTONIO  DE'  (b.  1880).  See 
Register,  10. 

GRAU,  MAURICE  (1849,  Briinn,  Austria 
:  Mar.  14,  1907,  Paris),  was  brought  to 
America  in  1854  and  graduated  from  the 
College  of  the  City  of  New  York  in  1867  and 
from  the  Coliunbia  Law  School.  His  connec- 
tion with  music  dates  from  1872,  when  with 
C.  A.  Chizzola  he  managed  the  tours  of 
Rubinstein  and  Wieniawski.  In  1874  they 
managed  a  season  of  op6ra  bouffe  (in  English) 
by  Emma  Soldene  and  company,  and  in  1875 
Mme.  Aimee  and  her  French  company.  Later 
he  promoted  the  Kellogg  Opera  Company 
and  managed  tours  for  Sarah  Bernhardt, 
Salvini,  Offenbach  and  others.  In  1883-84 
the  firm  of  Abbey,  Schoeffel  and  Grau  leased 
the  Metropolitan  Opera  House,  and  gave 
performances  there  and  in  other  cities  from 
Oct.  22  to  Apr.  12,  with  such  disastrous 
financial  results  that  they  did  not  make 
another  attempt  until  1891-92.  They  con- 
tinued until  1897,  when  the  whole  burden  was 
assumed  by  Grau.  In  1903  ill-health  led  to 
his  retirement.     [  R.6  ] 

GRAUPNER,  JOHANN  CHRISTIAN 
GOTTLIEB  (Oct.  6,  1767,  Verden,  Germany 
:  Apr.  16,  1836,  Boston),  who  had  been  an 
oboe-player  in  a  Hanoverian  regiment  and 
honorably  discharged,  in  1788  went  to  London 
and  in  1791-92  played  there  under  Haydn. 
He  came  to  Prince  Edward's  Island,  and  by 
1795  was  in  Charleston,  where  he  played  in 
the  City  Theatre  orchestra.  Early  in  1797 
he  settled  in  Boston,  and  besides  playing  oboe 
in  and  leading  the  Federal  Street  Theatre 
orchestra,  played  the  double-bass  and  an- 
nounced himself  as  teacher  of  oboe,  German 
flute  and  violin  (see  Sonneck,  Early  Concert- 
Life,  p.  306).  He  is  credited  with  being  'the 
father  of  Negro  song,'  from  the  fact  that  on 
Dec.  30,  1799,  at  the  end  of  the  second  act 
of  'Oroonoko'  (Federal  Street  Theatre,  Boston) 
he  sang  in  character  'The  Gay  Negro  Boy,' 
accompanying  himself  with  the  banjo.  About 
1800  he  opened  a  music-store  ;  he  also  engraved 
and  published  music.  Soon  after  coming  to 
Boston  he  began  to  assemble  players  for  an 
orchestra,  and  this  group  may  have  been  the 


nucleus  of  the  Philharmonic  Orchestra,  which 
gave  its  last  concert  in  1824  after  a  known 
existence  of  some  fifteen  years.  He  was  an 
enthusiast  for  Haydn's  music,  was  active  and 
influential  in  musical  affairs,  and  undoubtedly 
deserves  Elson's  title,  'the  father  of  American 
orchestral  music'  At  Charleston  in  1796  he 
married  Mrs.  Catherine  Hillier,  who  had  made 
her  dSbut  at  Boston  as  a  singer  in  1794  (as 
'Mrs.  Heelyer').  She  was  one  of  the  most 
prominent  and  successful  singers  of  the  day. 
She  died  at  Boston  on  May  28,  1821.  For 
these  dates  and  the  Graupner  family-record, 
see  the  Boston  Symphony  Orchestra  Program- 
Book,  1909-10,  pp.  920-23.     [  R.2  ] 

GRAY,  HERBERT  WILLARD  (b.  1868). 
See  Register,  8. 

GRAY  COMPANY,  THE  H.  W.,  of  New 
York,  was  organized  in  1906  by  H.  Willard 
Gray  to  take  over  the  business  of  the  American 
branch  of  Novello  &  Co.,  the  great  London 
publishers.  This  branch  had  been  established 
in  1883,  eight  years  before  the  change  of  laws 
which  for  the  first  time  gave  foreigners  copy- 
right-protection in  America.  At  first  only  a 
few  American  works  were  taken  into  the 
catalogue,  such  as  Parker's  'Hora  Novissima' 
and  Shelley's  'Vexilla  Regis'  (both  1893), 
but  in  1894-1906  about  100  choral  works  were 
published,  together  with  books  like  the  No- 
vello Music-Course  for  Public  Schools,  Parker's 
(P.  E.)  Hymnal,  the  Hymnal  for  Schools  and 
The  Institute  Hymnal  by  Ives  and  Woodman, 
Stubbs'  Manual  of  Intoning  and  The  Choir- 
Service,  Hulbert's  Voice-Production,  J.  W. 
Goodrich's  Gregorian  Accompaniment  and 
Hall's  Choir-Boy  Training.  Since  1906  at 
least  3000  American  compositions  have  been 
issued,  including  works  by  all  the  foremost 
composers.  Converse's  'The  Pipe  of  Desire,' 
the  first  American  opera  to  be  given  at  the 
Metropolitan  Opera  House,  came  out  in  1907. 
Gilbert's  works  were  taken  over  in  1912.  Among 
important  orchestral  works  are  Converse's 
'Endymion's  Narrative'  and  'Ormazd,'  Gil- 
bert's 'Comedy  Overture'  and  'Negro  Rhap- 
sody,' etc.  The  Company  was  the  first  to  reduce 
the  size  of  folio  sheet-music  to  9x12  in.,  an  inno- 
vation now  adopted  by  most  music-publishers. 
In  1901  the  issue  began  of  '  The  Church  Music 
Review,'  which,  altered  and  enlarged,  became 
'The  New  Music  Review'  in  1904.  This 
monthly,  edited  by  H.  W.  Gray,  has  always 
maintained  a  high  rank  for  keen  editorials,  able 
articles  and  trustworthy  reports  of  musical 
happenings. 

GREATOREX,  HENRY  WELLINGTON 
(1811-1858).     See  Tune-Books,   1851. 

J  GRECHANINOV,  ALEXANDER  TIKH- 
ONOVITCH  (Oct.  26,  1864,  Moscow,  Rus- 
sia). See  article  in  Vol.  ii.  222.  To  the  list 
of   works   add    the    2nd    symphony,    op.    27 ; 


228 


GREEN  knight: 


GRINNELL  FESTIVAL 


the  opera  'Sceur  Beatrice'  (withdrawn  after 
fourth  performance  because  representing 
the  Virgin  on  the  stage) ;  a  third  string- 
quartet,  op.  70 ;  two  complete  Liturgies,  opp. 
13  and  29;  a  'Laudate  Dominum,'  op.  65, 
a  cantata  for  chorus  and  orchestra;  a  piano- 
trio,  op.  38 ;  much  church-music  and  many 
songs.  See  chapter  in  Montagu-Nathan, 
Contemporary  Russian  Composers,  1917. 

'GREEN  KNIGHT,  THE,'  was  No.  9 
of  the  plays  of  the  Bohemian  Club  of  Cali- 
fornia, produced  in  1911.  The  music  is  by 
Edward  G.  Stridden  and  the  text  by  Porter 
Garnett.  The  scene  is  laid  'in  a  forest  in 
the  other-world  of  dreams  on  a  mid-summer- 
night  in  the  present.' 

J  GREENE,  HARRY  PLUNKET  (June 
24,  1865,  near  Dublin).  See  article  in  Vol. 
ii.  232.  He  is  professor  of  singing  at  the  Royal 
Academy  and  Royal  College  of  Music  in  Lon- 
don.    He  has  published  Interpretation  in  Song. 

GREENE,  HERBERT  WILBER  (b.  1851). 
See  Register,  7. 

t  GRIEG,  EDVARD  HAGERUP  (June  15, 
1843,  Bergen,  Norway  :  Sept.  4,  1907,  Ber- 
gen). See  article  in  Vol.  ii.  241-2.  Complete 
the  list  of  works  by  adding 

op.    68    Six  '  Lyrische  Stiicke '  for  piano. 
69-70   Ten  'Lieder.' 

71  Seven  'Lyrische  Stiicke'  for  piano. 

72  'Norwegische  Bauerntanze,'  for  piano. 

73  'Stimmungen,'  seven  piano-pieces. 

74  'Vier  Psalmon,'  a  oappella. 

(without  opus-no.)     Three  piano-pieces  and  eleven 
songs. 

GRIFFES,  CHARLES  TOMLINSON 
(Sept.  17,  1884,  Elmira,  N.  Y.  :  Apr.  8, 
1920,  New  York),  graduated  at  Elmira 
Academy  and  began  piano  with  Mary  S. 
Broughton.  In  Berlin  he  studied  piano  for 
four  years  with  Jedliczka  and  Galston,  theory 
with  Klatte  and  Loewengard,  and  com- 
position with  Riifer  and  Humperdinck.  For 
a  time  he  taught  in  Berlin,  but  in  1907  re- 
turned to  America  and  till  1920  taught  at 
the  Hackley  School  for  Boys  in  Tarrytown, 
N.  Y.,  and  in  New  York.  His  first  appearance 
in  Berlin  was  in  June,  1904,  at  the  Beethoven- 
Saal,  playing  an  unpublished  piano-sonata 
in  F  minor.  His  compositions  (Schirmer) 
include  six  German  songs  (1909-10),  without 
opus-niunber ;  three  '  Tone-Images '  for  voice 
and  piano,  op.  3  (1912)  ;  two  Rondels  for 
voice  and  piano,  op.  4  (1913);  three  'Tone- 
Pictures'  for  piano,  op.  5  (1910-12)  —  'The 
Lake  at  Evening,'  'The  Vale  of  Dreams,' 
'  The  Night  Winds ' ;  three  '  Fantasy-Pieces ' 
for  piano,  op.  6  (1912-14)  —  Barcarolle, 
Notturno  and  Scherzo ;  four  '  Roman  Sketches ' 
for  piano,  after  poems  by  William  Sharp,  op. 
7  (1915-16) —  'The  White  Peacock,'  'Night- 
fall,'   'The    Fountain  of    the    Acqua    Paola,' 


'  Clouds '  —  first  given  by  the  composer  at 
the  MacDoweli  Club  in  New  York,  1918; 
five  poems  of  ancient  China  and  Japan, 
written  for  voice  and  piano  on  five-tone  and 
six-tone  scales,  op.  9  (1916-17)  ;  three  songs, 
op.  10  (1916) ;  three  poems  of  Fiona  MacLeod 
for  soprano  and  orchestra  or  piano,  op.  11 
(piano-version,  1918)  —  first  given  by  the 
Philadelphia  Orchestra  with  Marcia  van 
Dresser,  1918-19;  'These  Things  shall  Be,' 
for  unison  chorus  (1916).  His  unpublished 
works  are  'The  Pleasure-Dome  of  Kubla 
Khan,'  after  Coleridge,  a  symphonic  poem 
for  full  orchestra;  'The  Kairn  of  Koridwen,' 
a  dance-drama  in  two  scenes,  for  flute,  clarinets, 
horns,  harp,  celesta  and  piano  (1916)  —  given 
at  the  Neighborhood  Playhouse  in  New  York, 
1916-17;  'Schojo,'  a  Japanese  mime-play  for 
four  wind-instruments,  four  muted  strings, 
harp,  tam-tam,  Chinese  drum  and  tympani  — 
first  given  by  Michio  Itow  at  Bchn's  'Ballet 
Intime'  in  1917;  two  pieces  for  string-quartet 
—  given  by  the  Flonzaley  Quartet,  1918-19; 
a  sonata  for  piano  —  first  given  by  'the  com- 
poser at  the  MacDoweli  Club,  1918;  an 
arrangement  of  two  'Tone-Pictures'  from  op. 
5  for  wind-instruments  and  harp  —  first 
given  by  the  Barr^re  Ensemble  in  New  York, 
1916;  and  a  'Poem'  for  flute  and  orchestra 
(1918).     [  R.9  ] 

GRIFFITH,  CHARLES  LEONARD  (b. 
1887).     See  Colleges,  3  (Penn.  C,   Iowa). 

GRIMM,  CARL  HUGO  (Oct.  31,  1890, 
Zanesville,  O.),  studied  with  his  father  (see 
below).  Since  1905  he  has  taught  piano, 
organ  and  theory  in  Cincinnati.  Since  1911 
he  has  also  been  organist  at  the  Reading  Road 
Temple,  and  since  1912  also  at  the  Mt.  Auburn 
Baptist  Church.  His  compositions  include 
'The  Coming  of  the  Anointed,'  a  cantata  for 
Christmas;  'The  Great  Miracle,'  an  Easter 
cantata;  a  Sabbath  Morning  Service  for  the 
Synagogue ;  many  vocal  solos,  choruses  and 
anthems ;  an  'Invocation'  for  violin  and  piano 
(or  other  coml)inations)  ;  and  organ-music, 
including  a  tone-painting,  'The  Spirit  of  God 
moved  upon  the  face  of  the  waters,'  a  'Delphic 
Song,'  and  a  'Festival  Postlude.'     [  R.9  ] 

GRIMM,  CARL  WILLIAM  (June  8,  1863, 
Dayton,  O.),  studied  with  Julius  Fuchs  in 
Chicago  and  Homeyer  at  the  Leipzig  Con- 
servatory. Since  1893  he  has  been  con- 
tinuously active  in  Cincinnati  as  teacher  of 
piano,  organ  and  theory  and  as  lecturer.  He 
has  published  a  long  list  of  instruction-books, 
especially  for  piano  and  in  harmony.  His 
piano-method  is  in  its  17th  edition  and  his 
Modern  Harmony  in  its  4th.      [  R.8  ] 

GRINNELL  MUSIC  FESTIVAL  AS- 
SOCIATION, THE,  of  Grinnell,  la.,  was 
started  in  1901  by  Rossetter  G.  Cole,  then 
professor    in    GrinneU    College.     Its    present 


GRISWOLD 


GUTTMAN-RICE 


229 


name  and  scope  date  from  1912.  The  con- 
ductors, after  Mr.  Cole,  have  been  H.  W. 
Matlack,  W.  B.  Olds,  D.  L.  Smith,  E.  B. 
Scheve  and  George  L.  Pierce  (since  1907). 
The  chorus  numbers  about  150,  besides  a  local 
orchestra  of  35.  Two  to  six  concerts  are 
given  annually,  usually  including  one  by  a 
visiting  orchestra.  The  enterprise  is  main- 
tained by  a  body  of  guarantors.  First  per- 
formances are  noted  of  Scheve's  'Requiem' 
(1909)   and  piano-concerto   (1913). 

GRISWOLD,  ELIJAH.  See  Tune-Books, 
1800. 

GRISWOLD,  GERTRUDE  (1861-1912). 
See  Register,  7. 

GRISWOLD,  PUTNAM  (Dec.  23,  1875, 
Minneapolis  :  Feb.  26,  1914,  New  York), 
though  his  career  was  sadly  brief,  had  re- 
markable success  as  a  dramatic  basso.  He 
began  study  in  1897  at  Oakland,  Cal.  In 
1900  he  went  to  Randegger  in  London,  and  in 
1902  to  Bouhy  in  Paris,  Stockhausen  in 
Frankfort  and  Emerich  in  Berlin  successively. 
His  d6but  at  Covent  Garden  was  in  1901  and 
at  Berlin  and  with  the  H.  W.  Savage  'Parsifal' 
company  in  America  in  1904.  In  1906-11 
he  sang  at  the  Royal  Opera  in  Berlin,  where 
he  was  highly  esteemed,  and  from  1911  he 
was  with  the  Metropolitan  Opera  House  in 
New  York,  specializing  in  Wagnerian  roles. 
[  R.9  ] 

GROLLE,  JOHAN  HENDRIK.  See  Reg- 
ister, 7. 

GROSS,  JACOB  (1819-  ?  ).  See  Register, 
4,  under  StiefJ. 

GROUT,  CHARLES  HENRY  (b.  1854). 
See  Register,  6. 

GRUENBERG,  EUGENE  (b.  1854).  See 
Register,  8. 

GUALDO,  GIOVANNI  (d.  1771?).  See 
Register,  1. 

GUELICH,  HENRY  D.  See  Colleges, 
2  (Winthrop  C,  S.  C). 

GUILBEAU,  F.  T.  See  State  Univer- 
sities (La.). 

t  GUILMANT,  FfiLIX  ALEXANDRE 
(Mar.  12,  1837,  Boulogne,  France  :  Mar. 
30,  1911,  Meudon,  near  Paris).  See  article 
in  Vol.  ii.  345.  In  1894  he  was  one  of  the 
founders  of  the  Schola  Cantorum,  where  he 
became  teacher  of  organ,  as  also  in  1896  at 
the  Paris  Conservatory.  He  resigned  his 
position  at  Ste.-Trinite  in  1901.  In  1893 
and  1897-8  he  made  concert-tours  in  America. 
For  list  of  works,  see  Baker,  Diet,  of  Musicians, 
pp.  345-6. 

GUILMANT  ORGAN  SCHOOL,  THE,  of 
New  York,  was  founded  in  1899  by  William 


C.  Carl,  who  has  remained  its  head  from  the 
first.  It  aims  to  give  a  thorough  training  for 
both  church  and  concert  work.  Besides  in- 
struction in  organ-playing,  there  are  courses 
in  harmony,  counterpoint  and  composition, 
in  hymnology,  in  organ-construction  and  in 
tuning.  The  faculty  numbers  seven.  The 
total  number  of  graduates  is  about  115.  The 
School  began  under  the  honorary  presidency 
of  Guilmant.  At  present  Dubois  and  Bonnet 
are  honorary  president  and  vice-president, 
and  there  is  an  advisory  board  that  includes 
four  French  and  four  English  organists. 
'  GUIRAUD,  ERNEST  (June  23,  1837,  New 
Orleans  :  May  6,  1892,  Paris).  See  article 
in  Vol.  ii.  259.  His  father,  Jean  Baptiste 
Guiraud,  won  the  Prix  de  Rome  at  the  Paris 
Conservatory  in  1827.  The  son's  teachers 
there  were  Marmontel  (piano),  Barbereau 
(harmony)  and  Halevy  (composition).  Philip 
Hale  (in  the  Boston  S5rmphony  Orchestra 
Program-Book,  1910-11,  p.  485)  tells  of  his 
advising  Debussy,  if  he  wanted  to  take  the 
PrLx  de  Rome,  to  'reserve  for  a  later  day' 
his  score  of  'Diane  au  Bois.'     [  R.4  ] 

GULBRANSEN-DICKINSON  COM- 
PANY, THE,  of  Chicago,  established  in  1906, 
has  become  one  of  the  leading  makers  of 
player-pianos  and  player-actions.  It  controls 
special  devices  and  patterns  that  insure  easy 
running  and  perfect  adaptability  to  both 
upright  and  grand  pianos. 

GULLI,  LUIGI  (b.  1859).    See  Register,  10. 

GUNN,  GLENN  DILLARD  (Oct.  2,  1874, 
Topeka,  Kan.) ,  had  his  first  piano-lessons  in  To- 
peka.  In  1893-96  he  was  in  Leipzig,  studying 
piano  with  Zwintscher,  Reinecke  and  Teich- 
miiller  and  theory  with  Schreck,  and  mak- 
ing his  debut  as  pianist  in  1896.  In  1896-99  he 
assisted  Teichmiiller  and  toured  in  Germany. 
In  1900-01  he  taught  at  the  American  Con- 
servatory in  Chicago  and  in  1901-06  at  the 
Chicago  Musical  College.  Since  1905  he  has 
been  extension-lecturer  on  music  for  the 
University  of  Chicago.  In  1901-14  he  was 
musical  editor  for  the  'Journal,'  the  'Inter- 
Ocean'  and  the  'Tribune'  in  succession.  He 
has  appeared  as  soloist  with  many  leading 
orchestras  and  given  recitals  throughout  the 
country.  In  1915  he  established  the  American 
Symphony  Orchestra,  for  the  performance  of 
American  works  exclusively,  with  American 
soloists.  He  has  published  History]  and 
Sketches  of  Mxisic,  1913,  and  is  one  of  the 
editors  of  The  Progressive  Series  (Art  Pub- 
lication Society,  St.  Louis).     [  R.8  ] 

GUTTMAN-RICE,  MELANIE  (b.  1873). 
See  Register,  9. 


H 


tHABERL,  FRANZ  XAVER  (Apr.  12, 
1840,  Oberellenbach,  Bavaria  :  Sept.  5,  1910, 
Ratisbon,  Bavaria).  See  article  in  Vol.  ii. 
269.  In  1907  he  resigned  as  editor  of  the 
'  Kirchenmusikalisches  Jahrbuch'  and  was 
succeeded  by  Karl  Weinmann.  A  large  part 
of  his  work  in  the  field  of  Gregorian  music  has 
been  invalidated  by  later  research,  so  that  his 
service-books  no  longer  have  papal  sanction. 

HACKETT,  KARLETON  SPALDING 
(Oct.  8,  1867,  Brookline,  Mass.),  after  grad- 
uating from  the  Roxbury  (Mass.)  Latin  School 
and  spending  two  years  at  Harvard,  in  1889 
went  to  Italy  for  four  years  of  vocal  study. 
Since  1893  he  has  lived  in  Chicago,  at  first 
singing  much  in  concert  and  oratorio,  but  since 
1898  mainly  as  teacher.  In  1896-1911  he  was 
head  of  the  vocal  department  at  Northwestern 
University  in  Evanston  and  also  since  1896 
at  the  American  Conservatory.  He  has  since 
been  lecturer  at  the  former  and  in  1906  became 
vice-president  of  the  latter.  In  1906  he  began 
writing  for  the  'Evening  Post'  and  since  1909 
has  been  its  musical  critic.  He  has  contrib- 
uted articles  to  many  periodicals  and  other 
publications,  and  has  written  a  History  of 
Opera  in  Chicago  in  'the  Fifties.'     [  R.8  ] 

HACKH,  OTTO  CHRISTOPH  (1852- 
1917).     See  Register,  7. 

HADLEY,  HENRY  KIMBALL  (Dec.  20, 
1871,  Somerville,  Mass.),  had  lessons  in  piano 
and  violin  as  a  boy  from  his  father  and  showed 
facility  in  composing  before  he  was  twelve.  At 
the  New  England  Conservatory  he  studied 
with  Emery  and  Chadwick.  In  1893-94  he 
toured  with  the  Schirmer-Mapleson  Opera 
Company  as  conductor.  In  1894-95  he  took 
counterpoint  with  Mandyczewski  at  Vienna. 
In  1895-1902  he  was  music-director  at  St. 
Paul's  School  in  Garden  City,  N.  Y.  In  1904- 
09  he  was  conducting  and  composing  in  Europe, 
the  last  year  at  the  Stadt-Theater  in  Mayence. 
In  1909  he  became  conductor  of  the  Seattle 
Symphony  Orchestra  and  in  1911-15  of  the  San 
Francisco  Symphony  Orchestra.  Since  1915  he 
has  been  mostly  occupied  with  composition, 
often  serving  as  guest-conductor.  In  1920  he 
was  made  associate-conductor  of  the  New  York 
Philharmonic  Society.     His  works  include 

Symphony  No.  1,  'Youth  and  Life'  (1897,  New 
York). 

Symphony  No.  2,  'The  Four  Seasons'  (1901,  taking 
the  Paderewski  prize  and  one  from  the  New 
England  Conservatory,  given  in  1901  by  the  New 
York  Philharmonic  Society  and  in  1902  by  the 
Chicago  Orchestra). 

Symphony  No.  3,  in  B  minor  (1906,  given  in  1907 
by  the  Berlin  Philharmonic  Orchestra,  the  com- 
poser conducting,  and  in  1908  by  the  Boston 
Symphony  Orchestra). 


Symphony  No.  4,  'North,  East,  South,  West,'  in 
D  minor  (1911,  Norfolk  Festival,  Boston  Sym- 
phony Orchestra  and  at  Queen's  Hall,  London). 

Overture,  'Hector  and  Andromache'  (1894,  given 
in  1895  by  New  York  Symphony  Society). 

Overture,  'In  Bohemia'  (1902,  Pittsburgh  Or- 
chestra). 

Overture,  'Herod,'  for  tragedy  by  Stephen  Phillips. 

'Symphonic  Fantasia,'  op.  46  (1905). 

'Oriental  Suite'  (1903,  New  York). 

Tone- Poem,  'Salome'  (1907,  Boston  Symphony 
Orchestra). 

Tone-Poem,  'Lucifer'  (1915,  Norfolk  Festival). 

Rhapsody,  'The  Culprit  Fay'  (1909,  taking  prize 
of  National  Federation  of  Musical  Clubs,  given 
by  the  Chicago  Orchestra). 

Three  Ballet-Suites  for  orchestra. 

Concert-Piece  for  'cello  and  orchestra  (1907). 

Quintet  for  piano  and  strings. 

Quartet  for  strings. 

Sonata  for  violin. 

Comic  Opera,  'Nancy  Brown'  (1904). 

Opera,  'Safie,'  in  one  act  (1909,  Mayence). 

Grove-Play,  'The  Atonement  of  Pan'  (1912, 
Bohemian  Club,  Cal.). 

Opera,  'Azora,  Daughter  of  Montezuma,'  in  three 
acts  (1917,  Chicago). 

Opera,  'Bianca,'  in  one  act  (1918,  taking  the  Hin- 
shaw  prize,  given  by  the  Society  of  American 
Singers,  New  York). 

Opera,  'The  Garden  of  Allah'  (1918,  New  York). 

Opera,  'Cleopatra's  Night,'  in  two  acts  (1920, 
New  York). 

Incidental  Music  to  'The  Daughter  of  Hamilcar' 
and  'Audrey.' 

Lyric  Drama, '  Merlin  and  Vivien,'  op.  52,  for  voices 
and  orchestra. 

Cantata,  'In  Music's  Praise'  (1899,  taking  the 
Ditson  prize,  given  New  York  at  People's  Choral 
Union  concert). 

Cantatas,  'A  Legend  of  Granada,'  op.  45,  'The 
Nightingale  and  the  Rose,'  op.  54,  'The  Fate 
of  Princess  Kiyo,'  op.  58,  and  'The  Golden 
Prince,'  op.  69,  for  women's  voices  and  or- 
chestra. 

Lyric  Drama,  'Ode  to  Music,'  op.  75,  from  Henry 
van  Dyke,  for  soli,  chorus  and  orchestra  (1917, 
Worcester  Festival). 

Seven  Ballads  for  chorus  and  orchestra. 

A  Church  Service. 

About  150  Songs. 

Regarding  his  music  The  Art  of  Music  (1915) 
happily  said, '  Everywhere  in  it  is  energy,  fancy, 
the  spirit  of  youth.  It  bubbles  and  glints, 
running  an  inexhaustible  gamut  of  varying 
tints  and  ingenious  and  poetic  tonal  designs. 
It  is  the  music  of  immense  enjoyment  of  objec- 
tive life,  of  actions,  sights,  emotions  —  too 
eager  and  full  of  action  to  be  deeply  reflective, 
too  happy  to  be  philosophic'  His  '  Cleopatra's 
Night'  is  thought  by  many  to  be  on  the  whole 
the  most  brilliant  opera  yet  produced  by  an 
American  composer.     (  R.8  ] 

HAESCHE,  WILLIAM  EDWIN  (Apr.  11, 
1867,  New  Haven,  Conn.),  studied  violin  with 
Bernhard  Listemann,  piano  with  Perabo  and 
composition  with  Horatio  Parker,  graduating 


230 


HENRY  HADLEY 


HAGAN 


HALL 


231 


from  the  Yale  Music  School  in  1897.     Since 

1902  he  has  conducted  the  New  Haven  Choral 
Union  and  other  choral  organizations.     Since 

1903  he  has  taught  instrumentation  in  the  Yale 
Music  School.  In  1907  he  was  one  of  the  found- 
ers of  the  New  Haven  Symphony  Orchestra, 
in  which  he  has  since  been  first  violinist.  His 
works  include  a  Symphony  in  A-flat;  a  Sin- 
fonietta  in  four  movements ;  a  tone-poem,  '  The 
South';  the  two  overtures  'Fridjof  and  Inge- 
borg '  and  '  Spring-Time ' ;  a  '  Forest-Idylle' 
for  orchestra  (Schirmer) ;  the  suite  '  Eyes  of  the 
Night,'  for  violin  and  piano  (Witmark) ;  a 
'Characteristic  Suite'  for  violin  and  piano 
(Harms);  a  'Legend'  for  violin,  'cello  and 
piano  (Witmark) ;  trios  for  violins  and  piano 
(Ditson)  ;.  'The  Haunted  Oak,'  for  soli,  chorus 
and  orchestra  (Schirmer)  ;  'Young  Lovel's 
Bride',  for  women's  voices  and  orchestra 
(Schirmer) ;  two  piano-suites  (Presser)  ;  besides 
songs  and  pieces  for  violin  and  piano.     [  R.8  ] 

HAGAN,  HELEN  EUGENIA  (b.  1893). 
See  Register,  10. 

HAGEMANN,  RICHARD  (b.  1882).  See 
Register,  9. 

HAGEN,  THEODORE  (1823-1871).  See 
Register,  4. 

HAHN,  CARL  (b.  1874).     See  Register,  8. 

HAHN,  JACOB  H.  (1847-1902).  See  Regis- 
ter, 5. 

HAHN,  REYNALDO  (b.  1874).  See  Vol. 
ii.  271,  and  Register,  7. 

'HAIL,  COLUMBIA.'  See  Vol.  ii.  271-2, 
and  articles  by  O.  G.  Sonneck  in  I.  M.  G. 
Sammelbde.  3.  139,  and  Report  on  '  The  Siar- 
Spangled  Banner'  'Hail,  Columbia',  etc.,  1909. 

HAILE,  EUGEN  (b.  1873).  See  Regis- 
ter, 9. 

HAINES,  FRANCIS  W.  (1822-1887)  and 
NAPOLEON  J.  (1824-1900).     See  Register,  4. 

HAINES  BROTHERS.  A  weU-known  and 
successful  firm  of  piano-makers,  founded  in 
1851  by  Napoleon  J.  Haines,  with  his  brother 
Francis  W.  Haines,  at  first  under  the  name 
of  N.  J.  Haines  &  Co.  They  derived  their 
skill  in  the  line  of  tradition  beginning  with 
Nunns  and  traced  through  the  New  York 
Pianoforte  Manufactining  Co.  and  (from  1840) 
A.  H.  Fale  &  Co.  The  Haines  brothers  were 
among  the  earliest  makers  of  the  modern  '  over- 
strung' scales.  They  were  the  first  to  give  up 
making  'square'  pianos.  The  firm  is  now  a 
part  of  the  American  Piano  Co.  Their  factory 
is  at  East  Rochester,  N.  Y. 

HALE,  EDWARD  DANFORTH  (b.  1859). 
See  Register,  7. 

HALE,  PHILIP  (Mar.;5, 1854,  Norwich,  Vt.) , 
began  piano-lessons  while  a  boy  at  North- 
ampton, Mass.,  where  he  was  early  also  an 
organist.  His  general  education  was  at 
Phillips  (Exeter)  Academy  and  Yale  College, 
graduating  in  1876.     In  1880  he  became  a  law- 


yer at  Albanj',  where  he  also  studied  piano  and 
theory  with  John  Kautz  and  in  1879-82  was 
organist  at  St.  Peter's.  Giving  up  the  law,  in 
1882  he  went  abroad  for  work  with  Haupt, 
Raif ,  Urban  and  Bargiel  at  Berlin,  with  Rhein- 
berger  at  Munich  and  Faiszt  at  Stuttgart,  and 
with  Guilmant  at  Paris.  In  1887-89  he  was 
organist  at  St.  John's  in  Troy  and  conducted 
the  Schubert  Club  in  Albany.  Since  1889  he 
has  worked  in  Boston,  speedUy  becoming  recog- 
nized as  a  critic  of  the  first  rank.  In  1890-91 
he  was  with  the  'Post,'  in  1891-1903  with  the 
'Joiu-nal,'  and  since  1903  with  the  'Herald.' 
In  1898-1901  he  also  edited  the  'Musical 
Record'  for  the  Ditson  Company,  and  in  1901- 
03  the  '  Musical  World. '  Previously  he  had 
been  correspondent  for  the  'Musical  Courier,' 
New  York,  and  lately  has  written  editorials 
for  the  '  New  Music  Review '  there.  In  1889- 
1905  he  was  organist  at  the  First  (Unitarian) 
Church  in  Roxbury.  His  most  continuous  and 
substantial  work  has  gone  into  the  program- 
books  of  the  Boston  Symphony  Orchestra, 
which  he  has  prepared  since  1901.  His  writing 
is  always  marked  by  accurate  learning,  bril- 
liancy of  expression  and  not  a  little  satire  and 
humor.  He  has  also  lectured  in  the  Lowell 
Lectures  in  Boston  and  at  many  other  places. 
He  has  edited  Modern  French  Songs,  2  vols., 
and  collaborated  with  L.  C.  Elson  on  Great 
Composers  and  their  Works,  1900.  His  wife, 
n^e  Irene  Bamngras  (b.  Syracuse),  whom  he 
married  in  1884  in  Berlin,  is  an  accomplished 
pianist  and  composer.     [  R.6  ] 

HALL,  JAY  ROLLIN  (b.  1860).  See  Reg- 
ister, 7. 

HALL,  LELAND  (b.  1883).  See  Register, 
10. 

HALL,  WALTER  HENRY  (Apr.  25,  1862, 
London,  England),  was  prepared  by  Robert 
Thurnam,  organist  at  Reigate,  for  the  Royal 
Academy  of  Music,  where  for  four  years  he 
studied  piano  under  Harold  Thomas,  organ 
under  Steggall  and  theory  under  Banister.  He 
then  became  organist  of  Holy  Trinity  Church 
in  Twickenham,  and  decided  to  specialize  in 
choir-boy  training  and  choral  conducting. 
In  1883  he  came  to  New  York,  and  spent  one 
year  as  assistant  to  Le  Jeune  at  St.  John'3 
Chapel.  From  1884  he  was  organist  at  St. 
Luke's  in  Germantown,  Pa.,  from  1890  at  St. 
Peter's  in  Albany,  and  in  1896-1913  at  St. 
James'  in  New  York.  In  1893  he  founded  the 
Brooklyn  Oratorio  Society,  of  which  he  has 
been  the  only  conductor.  With  it  he  has  given 
a  long  list  of  oratorios  and  cantatas,  with  first 
performances  in  America  of  several  important 
works.  He  has  conducted  various  smaller 
societies,  including  the  Musurgia  Society  (men's 
voices),  the  Mozart  Society  (women's  voices) 
and  the  Yonkers  Choral  Society.  In  1913  he 
was  appointed  to  the  new  chair  of  Choral  and 


232 


HALL 


HAMBOURG 


Church  Music  at  Columbia  University.  A 
large  chorus,  not  limited  to  students,  was  or- 
ganized and  regular  concerts  given  in  Carnegie 
Hall  —  recently  transferred  to  the  Gymnasium 
of  the  University  and  combined  in  a  festival  of 
three  or  more  concerts,  choral  and  orchestral. 
His  duties  include,  besides  lectures  on  choral 
music,  afternoon  services  at  the  University 
Chapel,  where  a  selected  choir  of  forty  sings 
representative  church-music.  He  was  one  of 
the  Committee  on  the  Episcopal  Hymnal  in 
1919.  He  has  composed  a  Communion  Serv- 
ice in  G,  a  Magnificat  and  Nunc  Dimittis  in 
B-flat ;  a  Festal  Te  Deum  and  other  anthems, 
canticles  and  hymn-tunes.  He  is  the  author 
of  Essentials  of  Choir-Boy  Training,  1907,  and 
many  articles  and  reviews.     [  R.7  ] 

HALL,  WILLIAM  JOHN  (Feb.  2,  1867, 
London,  England),  was  a  solo  choir-boy  at 
eight,  and  later  assistant-organist  and  treble 
soloist  at  Christ  and  Trinity  Churches  in  Lon- 
don. He  studied  with  Scotson  Clark,  Trego, 
Tuddenham  and  C.  Thomas  in  London,  Haupt- 
mann  in  Berlin  and  Boncetti  in  Milan.  Com- 
ing to  Boston,  he  was  a  tenor  in  the  Lyric  Opera 
Company,  then  in  succession  music-director  at 
Augustana  College  in  Rock  Island,  111.,  at  the 
College  of  Music  in  Cedar  Rapids,  la.,  con- 
ductor of  the  Mendelssohn  Chorus  in  St.  Paul, 
and  organist  at  the  cathedral  in  Davenport, 
la.  For  some  years  he  has  been  located  in  St. 
Louis,  where  he  is  organist  of  the  First  Church 
of  Christ,  Scientist,  and  teaches  theory  at  the 
Soldau  High  School.  He  is  an  associate  of  the 
A.  G.  O.  and  dean  of  the  Missouri  Chapter, 
and  active  in  the  Missouri  Music  Teachers' 
Association.  He  holds  the  degree  of  Mus.D. 
from  Griswold  College  (England)  and  the  Royal 
Academy  of  Arts  and  Sciences.  He  has  com- 
posed the  opera  '  Tactics'  (1890,  Hinshaw  Opera 
Co.)  and  the  extravaganza  'Louisiana'  (1904, 
St.  Louis  Exposition),  the  tone-poems  'Ecstasy' 
and  'Victory,'  four  light  operas,  many  songs 
and  instrumental  pieces,  many  of  which  are 
published.     [  R.8  ] 

HALLAM,  LEWIS  (d.  1755)  and  LEWIS, 
Jr.  (1741-1808).     See  Register,  1. 

HALLET  &  DAVIS  PIANO  COMPANY, 
THE,  of  Boston,  is  derived  from  the  firm  of 
Brown  &  Hallet,  founded  in  1835,  in  which 
Edwin  Brown  was  the  expert  inventor  and 
mechanician  and  Russell  Hallet  the  supplier  of 
capital.  In  1840  they  won  a  first  prize  from 
the  Franklin  Institute  for  refinement  of  tone. 
In  1843  Brown  became  one  of  the  Chickering 
foremen, and  George  H.  Davis  took  his  place. 
The  firm  then  underwent  several  readjustments. 
About  1850,  as  Hallet  &  Davis,  it  became  one 
of  the  best  in  the  country,  as  attested,  for  ex- 
ample, by  a  gold  medal  from  the  Mechanics 
Institute  in  1853.  Mechanically  and  tonally 
tJteir  pianos  have  received  numerous  simil.nr 


awards  in  recent  years.  Their  type  of  player- 
piano  is  called  the  '  Virtuolo." 

HAM,  ALBERT  (1858,  Bath,  England), 
after  being  a  choir-boy  in  18G7-73,  studied 
piano  and  organ  with  J.  Hewitt  and  organ  with 
Pyne.  From  1880  he  was  organist  at  Uminster 
and  in  1893-97  organist  at  Taunton  and  con- 
ductor of  two  choral  societies.  He  became 
F.  R.  C.  O.  in  1883  and  was  made  Mus.D.  by 
Dublin  University  in  1894.  Since  1897  he  has 
been  organist  at  St.  James'  Cathedral  in  To- 
ronto, where  he  also  conducts  the  National 
Chorus  and  is  examiner  for  Toronto  University 
and  several  conservatories.  He  was  one  of 
the  founders  of  the  Canadian  Guild  of  Organists 
and  has  been  its  only  president.  In  1906 
Toronto  University  made  him  Mus.D.  once 
more.  His  compositions  include  an  Advent 
Cantata  for  solo,  8-part  chorus  and  orchestra, 
the  cantata  'The  Solitudes  of  the  Passion,' 
about  a  dozen  strong  anthems  (Novello 
or  Gray),  services,  offertory-sentences,  etc. 
(Frowde),  part-songs,  a  military  march  for 
piano  and  many  marches  played  by  bands  in 
the  British  army.  He  has  also  written  several 
hand-books  for  Novello  —  on  the  boy's  voice, 
ornaments  and  graces,  etc.     [  R.8  ] 

'HAMADRYADS,  THE,'  was  No.  3  of  the 
'Grove-Plays'  of  the  Bohemian  Club  of  Cali- 
fornia, described  as  'a  masque  of  Apollo.' 
The  music  is  by  William  J.  McCoy  and  the 
text  by  Will  Irwin.     It  was  produced  in  1904. 

HAMBOURG,  BORIS  (Dec.  27,  1884,  Vo- 
ronezh, Russia),  the  youngest  of  the  three 
brilliant  sons  of  Michael  Hambourg,  who  was 
an  able  piano-teacher  in  Moscow,  London  and 
(from  1911)  in  Toronto.  Brought  up  in  Lon- 
don, he  was  first  taught  piano  by  his  father, 
but  soon  turned  to  the  'cello  and,  on  advice  of 
Hugo  Becker,  studied  under  Walenn.  In 
1898-1903  he  was  at  the  Hoch  Conservatory 
in  Frankfort  under  Becker  and  Knorr  (compo- 
sition). In  1903  he  made  his  debut  at  the 
Tchaikovsky  festival  at  Pyrmont,  and  then 
went  with  his  brother  Mark  on  a  tour  in 
Australia  and  New  Zealand.  He  was  first 
heard  in  London  in  1904  and  in  Berlin  in  1900, 
in  the  latter  city  giving  a  series  of  historical 
recitals  that  has  been  often  repeated  since. 
During  the  next  four  years  he  toured  in  Ger- 
many, France  and  the  Low  Countries,  and  also 
in  South  Africa.  In  1910  he  came  to  America, 
appearing  first  in  Pittsburgh,  and  in  1911,  with 
his  father  and  his  brother  Jan,  opened  the 
Hambourg  Conservatory  in  Toronto.  Since 
1916  he  has  lived  in  New  York.  He  has  com- 
posed and  edited  pieces  for  the  'cello,  and  writ- 
ten some  songs.     [  R.IO  ] 

HAMBOURG,  JAN  (  b.  1882).  See  above 
and  Register,  10. 

HAMBOURG,  MARK  (b.  1879).  See 
above  and  Register,  8. 


HAMBOURG 


HANCHETT 


233 


HAMBOURG,  MICHAEL  (185G-1916). 
See  above  and  Register,  10. 

HAMERIK,  ASGER  (Apr.  8,  1843,  Copen- 
hagen, Denmark).  See  article  in  Vol.  ii.  277-8. 
In  1890  he  was  knighted  by  the  King  of  Den- 
mark. Since  1898  he  has  lived  in  Copenhagen. 
His  7th  symphony,  'Chorale,'  op.  40,  utilizes 
a  mezzo-soprano  and  chorus.  Among  his 
chamber-works  are  a  concert-romance  for 
'cello  and  orchestra,  a  fantasia  for  'cello  and 
piano,  and  a  piano-quartet,  op.  61.     [  R.6  ] 

HAMILTON,  CLARENCE  GRANT  (June 
9,  1865,  Providence),  had  his  general  education 
in  the  Providence  schools  and  Brown  Uni- 
versity, graduating  in  1888.  His  piano-study 
was  with  Edward  Hoffman,  Foote,  Dannreu- 
ther  and  Matthay,  organ  and  theory  with 
Macdougall  and  Chadwick.  In  1889-1904 
he  was  teacher  and  organist  in  Providence, 
and  since  1904  has  been  professor  at  Wellesley 
College  and  organist  in  the  Congregational 
Church.  Since  1913  he  has  directed  a  summer 
music-school  at  Boothbay  Harbor,  Me.,  and  in 
1918  lectured  at  Boston  University.  He  has 
composed  choruses  for  Sophocles'  'Electra' 
(1912,  Wellesley  College)  and  for  Euripides' 
'Medea'  (1914,  ib.),  both  for  women's  voices, 
several  songs  and  part-songs  (Ditson,  Hatch). 
He  wrote  nine  chapters  of  Baltzell's  History  of 
Music,  1905,  Outlines  of  Music-History ,  1908  (re- 
vised, 1913),  Piano-Teaching,  its  Principles  and 
Practice,  1910,  Soxmd  and  its  Relation  to  Music, 
1912,  and  is  editor  of  Ditson's  School-Credit 
Piano-Course,  1918.  He  has  also  written  often 
for  'The  Musician'  and  'The  Etude.'     [  R.7  ] 

HAMILTON,  EDWARD.  See  Tune- 
Books,  1845. 

HAMLIN,  EMMONS  (d.  1881).  See  Reg- 
ister, 4. 

HAMLIN,  GEORGE  JOHN  (Sept.  20, 
1868,  Elgin,  111.),  after  attending  the  Chicago 
schools  and  Phillips  (Andover)  Academy, 
studied  singing  with  various  American  and 
European  teachers.  He  was  first  heard  as 
concert-tenor  with  the  St.  Louis  Choral  Society, 
and  in  1898  won  notice  in  Chicago  for  the  first 
entire  program  of  Strauss  songs  given  in  Amer- 
ica. In  1904-06  he  sang  in  England,  France 
and  Germany,  and  in  1911  made  his  operatic 
debut  in  'Natoma'  with  the  Chicago  Opera 
Company,  in  which  he  was  a  leading  tenor  till 
1915.  He  has  been  successful  in  'Carmen,' 
'I  Giojelli  della  Madonna,'  'Tosca,'  'Madama 
Butterfly,'  'The  Cricket  on  the  Hearth'  and 
'Madeleine.'  His  repertoire  of  oratorio  roles 
and  songs  is  notably  large.     [  R.8  ] 

HAMMER,  HEINRICH  ALBERT  ED- 
UARD  (b.  1SG2).     See  Register,  9. 

HAMMERSTEIN,  OSCAR  (1847,  Berlin, 
Germany  :  Aug.  1,  1919,  New  York),  came 
to  New  York  in  1863  a  penniless  and  tradeless 
youth  and  found  employment  as  cigar-maker. 


Five  years  later  he  invented  a  cigar-making 
machine,  for  which  he  received  $6000.  All  to- 
gether he  took  out  over  a  hundred  patents  in 
this  business,  in  which  he  never  lost  interest 
and  which  brought  him  large  wealth.  In 
1868  he  wrote  and  produced  three  one-act 
comedies,  one  of  them  set  to  music  by  himself. 
His  activity  as  theatrical  manager  began  in 
1870,  with  the  leasing  of  the  Stadt  Theatre. 
In  1888  he  built  the  Harlem  Opera  House,  and 
followed  it  with  the  Columbus  Theatre,  the 
Harlem  Music  Hall,  the  Murray  Hill  Theatre, 
the  (first)  Manhattan  Opera  House  (1892), 
the  Olympia,  the  Victoria,  the  Republic,  and 
the  Harris,  most  of  which  he  managed  for  a 
longer  or  shorter  period.  In  1906  he  built 
the  second  and  better-known  Manhattan  Opera 
House,  which  was  opened  with  'I  Puritani'  on 
Dec.  3.  With  such  artists  as  Melba,  Nordica, 
Tetrazzini,  Garden,  Bonci,  DalmorSs,  Bress- 
ler-Gianoli,  Renaud,  and  Cleofonte  Campanini 
as  conductor,  the  Manhattan  at  once  became 
a  serious  rival  of  the  Metropolitan.  In  1908 
he  built  the  Philadelphia  Opera  House,  running 
it  in  conjunction  with  his  New  York  venture. 
In  April,  1910,  the  Metropolitan  management 
bought  the  Hammerstein  interests,  with  the 
stipulation  that  he  should  not  produce  opera 
in  the  United  States  for  ten  years.  In  1910 
he  transferred  his  activities  to  England,  build- 
ing the  London  Opera  House,  opened  on  Nov. 
13,  1911.  After  an  unsuccessful  season  he 
sold  this  and  in  1913  built  the  American  Opera 
House  in  New  York.  His  plans  for  opera 
here  were  blocked  by  injunction  and  the  house 
(now  known  as  the  Lexington  Opera  House) 
has  been  used  for  grand  opera  only  during 
visits  by  the  Chicago  Opera  Company.  In 
1919  he  announced  his  intention  of  resuming 
grand  opera  in  New  York  in  1920.  Despite 
a  series  of  failures,  he  is  to  be  remembered  for 
the  introduction  of  many  great  artists,  of  nu- 
merous modern  French  operas  (especially 
'Pelleas  et  Melisande'  and  'Louise')  Strauss' 
'Elektra,'  etc.,  and  for  a  thorough  awakening 
of  his  competitors.  See  Krehbiel,  Chapters 
of  Opera  and  More  Chapters  of  Opera.       [  R.7  ] 

HAMMOND,  WILLIAM  CHURCHILL 
(Nov.  25,  1860,  RockvUle,  Conn.),  was  a  pupil 
in  organ  of  Allen  in  Hartford  and  S.  P.  Warren 
in  New  York.  Since  1885  he  has  been  organist 
at  the  Second  Congregational  Church  in  Hol- 
yoke,  Mass.,  where  he  has  given  a  remarkable 
series  of  over  a  thousand  recitals.  In  1919, 
however,  fire,  destroyed  the  church  and  with 
it  his  fine  library.  From  1890  he  was  instructor 
in  organ  at  Smith  College,  and  since  1900  has 
been  head  of  the  music-department  at  Mount 
Holyoke  College,  which  he  has  brought  to  much 
efficiency.     [  R.7  ] 

HANCHETT,  HENRY  GRANGER  (Aug. 
29,  1853,  Syracuse,  N.  Y.      :     Aug.  19,  1918, 


234  HANDEL  AND  HAYDN  SOC. 


HARRIS 


Siasconset,  Mass.),  studied  medicine  at  Syra- 
cuse University  and  in  1884  graduated  from 
the  New  York  Homceopathic  College,  but 
soon  devoted  himself  to  music.  His  music- 
studies  were  begun  with  Ernest  Held  in  Syra- 
cuse and  continued  with  Sherwood,  Kullak, 
A.  K.  Virgil,  William  Mason,  and  A.  J.  Good- 
rich. He  taught  at  the  Metropolitan  College 
of  Music  in  New  York  and  many  other  schools, 
and  for  many  years  toured  extensively  in 
lecture-recitals.  He  lectured  at  the  Brooklyn 
Institute  in  1893-1903  and  gave  over  300  lec- 
tures and  recitals  in  New  York,  about  half  of 
them  in  popular  courses  under  the  Board  of 
Education.  He  was  organist  in  New  York 
churches  in  1884-98,  and  was  one  of  the 
founders  of  the  A.  G.  O.  in  1897.  He  was  the 
inventor  of  the  'sostenuto'  pedal  for  grand 
pianos  in  1873.  From  1907  he  taught  in  Wash- 
ington and  in  1913-18  at  Brenau  College  in 
Georgia.  In  addition  to  several  books  on  med- 
ical topics,  he  wrote  Teaching  as  a  Science, 
1882,  The  Art  of  the  Musician,  1905,  and  An 
Introduction  to  the  Theory  of  Music,  1916.  His 
compositions,  a^Te  Deum,  a  Benedictus,  and 
an  Easter  anthem,  are  published  by  Schmidt. 
[  R.6  ] 

HANDEL  AND  HAYDN  SOCIETY,  THE, 
of  Boston.  See  Vol.  i.  367-8.  In  1915  the 
Society  celebrated  its  centenary  by  a  four  days' 
festival. 

HANSON,  HOWARD  HAROLD  (b.  1896). 
See  Register,  10. 

X  HARCOURT,  EUGENE  D'  (1855,  Paris, 
France  :  Mar.  8,  1918,  Paris),  in  1882-86 
studied  at  the  Paris  Conservatory  with  Masse- 
net, Savard  and  Durand,  and  then  spent 
four  years  in  Berlin  with  Schulze  and  Bargiel. 
In  1892  he  organized  the  Concerts  ficlectiques 
Populaires  in  Paris  (for  which  he  built  the 
Salle  d'Harcourt),  which  were  discontinued  in 
1895,  but  resumed  in  1900  as  Grands  Oratorios 
^  rfiglise  St.-Eustache.  As  commissioner  of 
the  French  Government  he  studied  music  and 
music-educational  conditions  in  Italy,  Ger- 
many, Austria  and  the  United  States  (1915, 
Panama-Pacific  Exposition) .  He  revisited  Am- 
erica in  1917  and  conducted  works  by  French 
composers.  His  compositions  are  a  Mass 
(1876,  Brussels),  the  opera  'Tasso'  (1903, 
Monte  Carlo) ;  three  symphonies,  two  string- 
quartets,  two  ballets,  cantatas  and  motets. 
He  published  Quelques  remarques  sur  I'execu- 
iion  de  Tannhduser  h  VOpera,  1895,  Aperguana- 
lytique  de  la  1^'h  la  9™"  symphonic  de  Beethoven, 
1898,  La  musique  actuelle  en  Italic,  1907,  La 
musique  actuelle  en  Allemagne  et  en  Autriche- 
Hongrie,  1908,  La  musique  actuelle  aux  Etats 
Scandinaves,  1910.  He  also  made  French 
translations  of  Schumann's  'Genoveva'  and 
Weber's  'Der  Freischiitz.' 

HARDMAN,    PECK    &    COMPANY,    of 


New  York,  piano-makers,  were  incorporated 
in  1905  with  a  capital  of  $800,000.  They  have 
gained  a  high  standing  for  excellence  of  tone 
and  construction.  Their  tjrpe  of  player-piano 
is  known  as  the  '  Autotone. ' 

HARKER,  F.  FLAXINGTON  (Sept.  4, 
1876,  Aberdeen,  Scotland),  was  first  taught  by 
G.  C.  Dawson  and  A.  W.  Marchant  and,  after 
becoming  sub-organist  at  York  Minster,  by 
Noble.  Since  1900  he  has  been  A.  R.  C.  O. 
In  1901  he  came  to  America  to  be  organist  at 
All  Souls'  in  Biltmore,  N.  C,  returning  there  in 
1907-14  after  three  years  at  St.  Martin  le 
Grand's  in  New  York.  Since  1914  he  has  been 
organist  at  St.  Paul's  in  Richmond,  where  he 
also  conducts  two  choral  societies.  His  com- 
positions include  the  cantatas  'The  Star  of 
Bethlehem,'  op.  42,  and  'The  Cross,'  op.  50, 
with  many  services,  anthems,  choruses,  sacred 
and  secular  songs  and  organ-pieces  (all  Schir- 
mer).  He  has  also  edited  Stainer's  The  Organ 
and  several  collections  for  Schirmer.     [  R.9  ] 

HARMAN.  CATHARINE  MARIA  (d. 
1773).     See  Register,  1. 

HARMATI,  SANDOR  (b.  1892).  See  Reg- 
ister, 10. 

HARMON,  JOEL  (1773-1833).  See  Tunb- 
BooKs,  1809. 

HARMONIC  SOCIETY,  THE,  of  New 
York.  An  instrumental  group  by  this  name 
existed  in  1773-74  (see  Sonneck,  Concert-Life, 
pp.  170-1,  174,  201),  supplying  players  for  sev- 
eral concerts.  In  1849  a  choral  society  thus 
entitled  was  formed  in  the  hope  of  consoli- 
dating the  interests  of  the  Sacred  Music  So- 
ciety and  other  organizations,  and  continued 
amid  some  ups  and  downs  till  1869.  In  1863 
the  Mendelssohn  Society  was  set  up  by  certain 
seceding  members.  During'most  of  its  history 
the  conductor  was  Theodor  Eisfeld. 

HARMONICA.  See  article  in  Vol.  ii.  297-8, 
and  also  under  Franklin. 

HARMONICAL  SOCIETY,  THE,  of  New 
York,  was  established  in  1797  to  promote  both 
vocal  and  instrumental  music.  Nothing  is 
known  of  its  activities  in  detail.  At  the  end  of 
1799  it  was  merged  with  the  St.  Cecilia  Society 
into  the  (fii'st)   Philliarmonic. 

HARMONIUM.  See  article  in  Vol.  ii. 
302-5,  with  refel-ence  to  its  relation  to  the 
American  reed-organ. 

HARPER,  HARRY  CLYDE  (b.  1867). 
See  Register,  7,  Colleges,  2  (Irving  C,  Pa.), 
and  State   Universities   (S.  D.). 

HARRINGTON,  ADA.  See  Colleges,  3 
(Kansas  City  U.,  Kan.). 

HARRIS,  CHARLES  L.  M.  (b.  1863).  See 
Register,  7. 

HARRIS,  GEORGE,  Jb.  (b.  1884).  See 
Register,  9. 

HARRIS,  WILLIAM  VICTOR  (Apr.  27, 
1869,  New  York),  studied  singing  with  Court- 


HARRISON 


HARVARD  UNIVERSITY      235 


ney,  composition  with  Schilling  and  conduct- 
ing with  Seidl.  In  1889-95  he  was  organist 
in  or  near  New  York,  in  1892-95  coached  at 
the  Metropolitan  Opera  House  and  in  1893-94 
conducted  the  Utica  Choral  Union.  In  1895-98 
he  was  Seidl's  assistant-conductor  in  summer- 
concerts.  Since  1902  he  has  directed  the  St. 
Cecilia  Club,  a  high-class  women's  chorus, 
for  which  special  music  has  been  written  by 
Liza  Lehmann,  Stanford,  Elgar,  Henschel  and 
others.  Besides  being  a  popular  teacher,  he 
has  published  over  100  choruses  and  songs, 
and  has  orchestral  works  in  manuscript.   [  R.7  ] 

HARRISON,  THOMAS.     See  Register,  1. 

HARRISS,  CHARLES  ALBERT  EDWIN 
(Dec.  15,  1862,  London,  England),  at  eight 
was  a  choir-boy  at  St.  Mark's  in  Wrexham, 
where  his  father,  the  organist,  gave  him  his 
first  organ-lessons.  From  1875  he  became 
Ouseley  scholar  at  St.  Michael's  College  at 
Tenbury,  from  1880  assistant-organist  at  St. 
Giles'  in  Reading,  and  in  1881  organist  at 
Welshpool  and  to  the  Earl  of  Powis.  In  1882 
he  came  to  St.  Alban's  in  Ottawa,  and  in  1883 
moved  to  Montreal,  where  he  was  first  at 
Christ  Church  Cathedral  and  later  at  St.  James' . 
He  founded  a  glee  and  madrigal  society,  and 
conducted  the  Montreal  Philharmonic  Society. 
In  1905  he  promoted  a  series  of  choral  festivals 
throughout  the  principal  cities  of  Canada,  with 
Sir  Alexander  Mackenzie  as  conductor.  The 
next  year  he  organized  a  concert  of  British 
music,  conducted  by  the  composers,  at  Queen's 
Hall  in  London,  and  in  1919  arranged  an  enor- 
mous choral  'Victory  Celebration.'  He  has 
composed  the  cantata  'David  before  the  King' 
(1890,  Montreal),  the  opera  'Torquil'  (1896, 
Montreal),  the  choral  idyl  'Pan'  (1906,  Lon- 
don), songs,  anthems,  part-songs  and  organ- 
pieces.     [  R.7  ] 

HARTFORD  PHILHARMONIC  OR- 
CHESTRA, THE,  of  Hartford,  Conn.,  was 
founded  in  1900,  largely  through  the  efforts  of 
Mrs.  Charles  Dudley  Warner,  and  incorporated 
in  1914.  Its  conductors  have  been  Richmond 
P.  Paine  in  1900-02,  John  S.  Camp  in  1902-11 
and  Robert  H.  Prutting  since  1911.  It  num- 
bers about  65  players  and  usually  gives  three 
or  four  concerts  annually  —  about  75  to  1920. 
Its  programs  include  most  of  the  standard 
symphonies  and  overtures,  with  a  large  number 
of  modern  works. 

HARTMANN,  ARTHUR  MARTINUS 
(July  23,  1881,  Mat6  Szalka,  Hungary),  was 
brought  to  Philadelphia  in  early  childhood  and 
had  violin-lessons  from"  his  father  and  later 
from  Van  Gelder  and  Loefflef .  In  composition 
he  is  mostly  self-taught.  He  was  but  six  when 
fir^t  heard  in  Philadelphia.  Since  1893  he  has 
played  with  almost  all  the  great  orchestras  — 
in  America  250  appearances  before  1916.  In 
Paris  he  gave  recitals  with  Debussy.     He  holds 


decorations  from  Rumania  and  Servia.  Among 
his  pupils  are  Visanski,  Marcosson,  Garagusi 
and  Colton.  He  has  published  about  25  tran- 
scriptions for  violin  from  Paganini,  Kjerulf, 
Nordraak,  Debussy  and  MacDowell,  four 
'Pieces'  (Church),  'Bogdan'  (Schirmer),  a 
'Suite  in  the  Ancient  Style,'  'Souvenir,' 
'Cradle-Song,'  'Seven  o'clock,'  'Autumn  in 
Hungary '  (all  Carl  Fischer)  —  all  for  violin ; 
three  'Moods'  (Church),  six  Preludes  (Ditson), 
four  'Miniatures'  (Carl  Fischer),  51  old  Hun- 
garian Melodies  (Presser)  —  all  for  piano ;  a 
'Pri^re  h  Notre  Dame,'  for  organ  (Breitkopf)  ; 
and  several  songs  and  part-songs  (Gamble, 
Boston  Music  Co.,  Ditson).  Unpublished  are 
eome  orchestral  works,  'At  the  Mid-Hour  of 
Night,'  for  chorus  and  orchestra,  part  of  a 
string-quartet,  pieces  for  violin,  viola  d'amour 
and  czimbalom,  about  20  songs  and  two  melo- 
dramas.    [  R.7  ] 

HARTWELL,  EDWARD.  See  Tunb- 
BooKS,  1815. 

tHARTY,  HAMILTON  (Dec.  4,  1879, 
Hillsborough,  Ireland).  See  article  in  Vol.  v. 
644.  Recent  works  are  the  symphonic  poems 
'  With  the  Wild  Geese  '  (1910,  Cardiff  Festival) 
and  '  A  Tinker's  Wedding,'  '  Variations  on  an 
Irish  Theme,'  for  violin  and  orchestra  (1913, 
London),  and  the  cantata  '  The  Mystic  Trum- 
peter,' for  baritone,  chorus  and  orchestra  (1913, 
Leeds  Festival,  1914,  Columbia  University 
Chorus,  New  York).  During  the  war  he  was 
Lieutenant  R.  N.  V.  R.,  and  his  musical  ac- 
tivity ceased.  Now  he  is  conductor  of  leading 
orchestras  in  London,  Manchester  and  Leeds. 

HARVARD  MUSICAL  ASSOCIATION, 
THE,  of  Cambridge,  Mass.  See  article  in 
Vol.  i.  368-9. 

HARVARD  UNIVERSITY,  Cambridge, 
Mass.,  through  its  Division  of  Music  offers 
courses  in  harmony,  counterpoint,  canon  and 
fugue,  vocal  composition,  instrumentation,  his- 
tory, appreciation,  the  evolution  of  orches- 
tral style,  Beethoven,  Brahms  and  certain 
French  composers,  and  advanced  composition. 
There  are  no  praxis-courses.  One  or  more 
courses  may  be  taken  with  credit  toward  an 
A.B.;  but  an  A.B.  'with  distinction'  or  'with 
honors'  in  music  requires  either  five  or  a  ma- 
jority of  them,  ability  to  use  French,  German, 
and  Italian,  and  original  composition.  An 
A.M.  or  a  Ph.D.  in  music  is  granted  under 
appropriate  conditions.  Special  students  of 
maturity  and  ability  may  be  enrolled.  The 
Boott  prize  of  $100  and  the  Knight  prize  of 
$30  are  given  annually  for  excellence  in  com- 
position. The  Naumburg  fellowship  for  grad- 
uate-study is  awarded  biennially  and  a  fellow- 
ship for  work  in  Boston  Music  School  Settle- 
ment annually.  The  Division  —  with  the 
Pierian  Sodality  and  several  student-clubs  in 
music  —  occupies   a   special   building,   largely 


236 


HARWOOD 


HECKSCHER 


the  gift  of  James  Loeb  of  New  York.  The  first 
instructor  in  music  was  John  K.  Paine,  ap- 
pointed in  1862  and  made  professor  in  1875. 
Among  his  assistants  from  1895  was  Walter 
R.  Spalding,  who  as  assistant-  or  associate- 
professor  has  been  head  of  the  Division  since 
Paine's  death  in  1906.  There  are  also  three 
assistant-professors  and  one  instructor.  Be- 
sides the  powerful  stimulus  to  scholarship  and 
creative  activity  exerted  by  the  music-division 
since  its  establishment,  the  much  earlier  influ- 
ence of  the  Pierian  Sodality  (from  1808)  and  its 
more  serious  descendant,  the  Harvard  Musical 
Association  (from  1837),  is  to  be  noted. 

t  HARWOOD,  BASIL  (Apr.  11,  1859,  Olves- 
ton,  England).  See  article  in  Vol.  ii.  3.37.  He 
was  examiner  for  degrees  at  Oxford  in  1900-01, 
'04-05,  '08-09  and  '14-15.  In  1909  he  retired 
from  his  posts  there  as  organist  and  choragus. 
He  was  the  musical  editor  of  The  Oxford  Hyjnn- 
Book,  1908.     To  his  compositions  add 

Capriccio,  op.  16,  for  organ. 

Psalm  137,   'As  by  the  streams  of  Babylon,'  op. 

20,  for  soprano,  chorus  and  organ  (1907,  Oxford). 
Motet,  'Jesus,  Thy  boundless  love  to  me,'  op.  22, 

for  soli,  or  semi-chorus,  chorus,   orchestra    and 

organ  (1909,  London  Festival  of  the  Sons  of  the 

Clergy). 
Three  Cathedral  Preludes,  op.  25,  for  organ. 
Sonata  No.  2,  in  F-sharp  minor,  op.  26,  for  organ. 
Concerto  in  D,  op.  26,  organ  and  orchestra  (1910, 

Gloucester  Festival). 
Cantata,  'Song  on  May  Morning,'  op.  27,  for  soli 

or    Bemi-chorus,    chorus    and    orchestra    (1913, 

Leeds  Festival). 
Morning,   Evening   and   Communion   Services   in 

E  minor,  op.  28. 

HARWOOD,  FREDERICK.  See  Col- 
leges, 3  (Henderson-Brown  C,  Ark.). 

HASSARD,  JOHN  ROSE  GREEN  (1836- 
1888).     See  Register,  5. 

HASTINGS,  THOMAS  (1787-1872).  See 
Register,  3,  and  Tune-Books,  1816. 

HASTINGS,  THOMAS  SAMUEL  (1827- 
1911).     See  Tune-Books,  with  preceding. 

HASTREITER,  H^ILENE  (Nov.  14,  1858, 
Louisville,  Ky.).  See  article  in  Vol.  ii.  341, 
with  correction  in  v.  644.  Her  first  appearance 
was  in  1867  at  a  concert  of  the  Milwaukee 
Musikverein.  At  twelve  she  sang  in  a  Chicago 
choir.  At  sixteen  she  really  made  her  debut 
in  'Masaniello,'  given  by  the  Chicago  Lieder- 
kranz.  In  Italy  she  studied  from  about  1880 
under  both  the  Lampertis,  father  and  son,  ap- 
pearing on  Italian  stages  from  about  1883. 
She  then  returned  to  Chicago.  Early  in  1886 
she  was  the  leading  contralto  in  the  first  sea- 
son of  the  American  Opera  Company  under 
Thomas,  being  specially  successful  in  'Orfeo.' 
She  then  returned  to  Europe,  singing  in  ora- 
torio and  concert  in  England,  and  in  opera  in 
Italy.     [  R.6  ] 

HATHAWAY,  LEWIS  J.  See  Colleges, 
3  (Middlebury  C,  Vt.). 


HATTSTAEDT,  JOHN  JAMES  (b.  1851). 
See  Register,  6. 

HAUK,  MINNIE  (b.  Nov.  16,  1852,  New 
York).  See  article  in  Vol.  ii.  341-2.  From 
time  to  time  curious  reports  have  been  given 
of  her  death,  but  in  1919-20  a  fund  was  sought 
in  New  York  by  various  friends  to  deliver  her 
from  financial  troubles.     [  R.5  ] 

HAVANA  ITALIAN  OPERA  COMPANY, 
THE,  was  a  troupe  organized  by  Francesco 
Marty,  primarily  for  performances  in  Havana, 
but  in  1847-50  coming  also  to  New  York  in  the 
summer.  The  conductor  was  Arditi,  and  the 
singers  were  as  a  rule  decidedly  good.  Besides 
standard  Italian  works,  in  1850,  'Les  Hugue- 
nots' was  given  for  the  first  time  in  America. 

HAWKINS,  JOHN  ISAAC."  See  Register,  3. 

HAWLEY,  CHARLES  BEACH  (1858- 
1915).     See  Register,  6. 

HAYDEN,  PHILIP  CADY  (b.  1854).  See 
Register,  7. 

HAYNES,  JOHN  C.  (1830-1907).  See  Reg- 
ister, 4. 

HAYS,  WILLIAM  SHAKESPEARE  (1837- 
1907).     See  Register,  4. 

HAYTER,  A.  U.  (1799-1873).  See  Regis- 
ter, 3. 

HAZELTON,  HENRY  (1816-  ?  ).  See 
Register,  4. 

HAZELTON  BROTHERS,  of  New  York, 
is  a  firm  of  piano-makers  that  has  been  prom- 
inent since  1850,  when  Frederick  and  Henry 
Hazelton  became  partners,  later  joined  by 
John  Hazelton,  a  third  brother.  They  derived 
traditions  of  first-class  work  from  Dubois  & 
Stodart,  and  immediately  gained  recognition 
and  success,  as  attested  by  a  high  award  at 
the  London  Exposition  of  1853  and  often  since. 
They  were  among  the  first  to  adopt  the  full 
iron  frames  and  have  introduced  many  refine- 
ments in  scale.  They  have  a  comprehensive 
type  of  player-piano. 

HEALY,  PATRICK  JOSEPH  (1840-1905). 
See  Register,  4. 

HEATH,  WILBUR  F.  (1843-1914).  See 
Register,  6. 

HECKSCHER,  C:&LESTE  DE  LONGPRfi, 
n6e  Massey  (1860,  Philadelphia),  studied  piano 
with  Zerdahal,  composition  with  H.  A.  Lang 
and  orchestration  with  Vassily  Leps.  She 
began  to  publish  when  but  ten  —  songs  like 
'Serenade,'  'Gypsy  Lullaby,'  'Pourquoi  je 
t'aime,'  'L'Ange  Gardien'  and  'Music  of  Hun- 
gary.' Later  came  the  Suite  'To  the  Forest,' 
for  violin  and  piano,  a  Romance  for  'cello  and 
the  piano-pieces  'Impromptu'  and  'Valse 
Boh^me.'  'Dances  of  the  Pyrenees,'  a  panto- 
mime or  ballet  d'action  for  orchestra,  was  first 
given  in  1911  by  the  Philadelphia  Orchestra 
and  has  since  been  played  often  elsewhere. 
Other  works  are  a  Pastorale  for  'cello  and  piano, 
'Passecaille'  and  other  piano-works,  and  the 


HEDDEN 


HEMPEL 


237 


anthem  '  Out  of  the  Deep.'  An  opera,  '  The 
Rose  of  Destiny'  is  in  manuscript.     [  R.6  ] 

HEDDEN,  WARREN  ROSECRANS  (Dec. 
25,  1861,  New  York),  studied  with  Messiter, 
Archer,  Buck,  Richard  Hoffman  and  C.  C. 
Miiller,  took  his  Mus.B.  at  Toronto  University 
in  1896  and  became  F.  A.  G.  O.  in  1902.  He 
is  known  as  pianist,  concert-organist,  teacher, 
conductor  and  composer.  In  1908-09  he  was 
warden  of  the  A.  G.  O.,  and  during  his  term 
organized  chapters  in  Cleveland,  Rochester, 
Los  Angeles,  Toronto  and  Montreal.  Since 
1913  he  has  been  director  of  the  examinations 
that  the  Guild  holds  in  some  twenty  cities. 
His  best-known  compositions  are  a  Te  Deum 
in  D  (Schirmer)  and  several  Benedicites  (Gray, 
Luckhardt).     [  R.7  ] 

HEIFETZ,  JASCHA  (Feb.  2,  1901,  Vilna, 
Lithuania) ,  was  extremely  precocious  musicaOy, 
taking  short  violin-lessons  from  his  father  at 
three  and  playing  by  ear  various  studies  and 
pieces  with  notable  ease  and  purity  of  intona- 
tion. At  four  he  entered  the  Vilna  music- 
school  and  soon  played  in  public  with  success. 
On  Auer's  advice  he  went  to  the  Conservatory 
in  Petrograd,  where  his  entrance-test  (Glazunov 
being  one  of  the  judges)  won  the  highest  mark 
yet  given.  At  nine  he  played  in  the  largest 
concert-hall  in  Petrograd,  at  ten  with  sym- 
phony orchestras  at  Odessa  and  Kiev,  and  at 
eleven  in  Pavlovsk  and  later  in  Berlin,  where 
he  made  a  sensation.  Within  a  year  he  was 
heard  with  the  Berlin  Philharmonic  under 
Nikisch,  the  Gewandhaus  Orchestra  at  Leipzig 
and  in  Vienna  under  Safonov.  His  studies 
^Yith  Auer  were  carefully  continued,  and  his 
general  education  under  tutors.  His  last  Eu- 
ropean tour  was  in  Sweden,  Norway  and  Den- 
mark. When  the  Russian  revolution  broke 
out  the  Heifetz  family  came  to  the  United 
States.  His  American  debut  was  in  New  York 
in  1917.  Since  then  he  has  been  extensively 
heard,  always  with  the  highest  admiration. 
[  R.IO  ] 

HEIN,  CARL  (b.  1864).     See  Register,  8. 

HEINECKE,  PAUL  (b.  1885).  See  Regis- 
ter, 10. 

HEINRICH,  ANTON  PHILIPP  (1781- 
1861).     See  Register,  3. 

HEINRICH,  MAX  (June  14,  1853,  Chem- 
nitz, Germany  :  Aug.  9,  1916,  New  York), 
having  studied  with  Klitzsch  in  Zwickau  and 
at  the  Dresden  Conservatory,  in  1873  came  to 
Philadelphia  as  teacher,  removing  in  1876-82 
to  Judson  College  in  Alabama.  In  1882  he 
began  his  notable  career  as  concert-  and  ora- 
torio-baritone by  singing  in  'Elijah'  under 
Leopold  Damrosch  in  New  York.  He  was 
remarkably  successful  in  song-recitals  (playing 
his  own  accompaniments)  and  specialized  in 
works  by  Schubert,  Schumann  and  Brahms. 
He  sang  also  with  leading  orchestras  and  for  a 


time  in  opera.  He  taught  singing  at  the  Royal 
Academy  of  Music  in  London  in  1888-93, 
lived  in  Chicago  in  1894-1903,  in  Boston  in 
1903-10  and  then  in  New  York.  His  '  farewell ' 
recital  was  given  in  Chicago  in  1903,  but  his 
final  public  appearance  was  in  New  York  in 
1915.  He  wrote  songs  and  melodramatic 
settings  of  Poe's  'Raven'  and  Waller's  'Magda- 
lena,'  edited  classical  German  songs,  trans- 
lated song-texts,  and  wrote  Correct  Prmciples 
of  Classical  Singing.  His  daughter,  Julia 
Heinrich  (d.  1919),  from  1915  sang  at  the  Met- 
ropolitan Opera  House.     [  R.6  ] 

HEINROTH,  CHARLES  (Jan.  2,  1874, 
New  York),  studied  piano  with  Friedheim  and 
Spicker,  organ  with  John  White  and  composi- 
tion with  Herbert.  In  Munich  he  was  a  pupil 
of  Hieber  and  Rheinberger.  In  1893  he  be- 
came organist  at  St.  Paul's  in  Brooklyn,  and 
in  1897-1907  was  at  the  Church  of  the  Ascen- 
sion and  Temple  Beth-El  in  New  York.  He 
taught  organ,  harmony  and  counterpoint  at 
the  National  Conservatory  for  some  years. 
Since  1907  he  has  been  organist  and  director 
of  music  at  the  Carnegie  Institute  in  Pittsburgh 
—  the  first  American  to  be  thus  chosen,  his 
predecessors  being  Archer  and  Lemare.  Each 
season  he  gives  over  seventy  free  organ-recitals 
(Saturday  evenings  and  Sunday  afternoons). 
These  recitals  cover  the  entire  range  of  organ- 
music,  so  that  the  annual  volumes  of  annotated 
programs  constitute  a  handbook  of  organ-liter- 
ature. During  Lent  the  Saturday  evenings 
are  taken  for  lectures  on  pertinent  musical 
topics,  and  in  these  he  has  been  eminently 
effective.  He  is  also  organist  at  the  Third  Pres- 
byterian Church  and  patron  of  the  music-de- 
partment of  the  Carnegie  Institute  of  Tech- 
nology. The  total  number  of  his  recitals 
throughout  the  country  now  approximates 
2000,  including  five  at  the  Panama-Pacific  Ex- 
position in  1915,  a  series  at  the  opening  of  the 
municipal  organ  in  Springfield,  Mass.,  and 
special  programs  before  the  A.  G.  O.  and  the 
N.  A.  O.,  besides  many  on  important  occasions. 
A  recent  critic  says  that  'the  term  virtuoso, 
which  can  be  applied  to  comparatively  few 
of  our  organists,  belongs  rightfully  to  him.' 
[  R.8  ] 

HEINTZMANN,  THEODORE  A.  (1817- 
1899).     See  Register,  4. 

HELD,  ERNST  CARL  EBERHARDT 
(1823-1913?).     See  Register,  4. 

HEMPEL,  FRIEDA  (June  26,  1885,  Leip- 
zig, Germany),  having  been  trained  at  the 
Leipzig  Conservatory,  the  Stern  Conservatory 
in  Berlin  (with  Selma  Nicklass-Kempner), 
made  her  debut  at  the  Royal  Opera  House  in 
Berlin  in  'The  Merry  Wives  of  Windsor'  in 
1905.  In  1905-07  she  sang  at  the  Court  Opera 
in  Schwerin,  and  in  1907-12  at  the  Royal  Opera 
in    Berlin.     Her   debut    at   the    Metropolitan 


238 


HENDERSON 


HERBERT 


Opera  House  in  New  York  was  late  in  1912. 
She  has  taken  principal  soprano-roles  in  '  Die 
Entfiihrung  aus  dem  Serail,'  'Cosi  fan  tutti,' 
'Le  Nozze  di  Figaro,'  'Rigoletto,'  'II  Barbiere 
di  Siviglia,'  'La  Traviata,'  'Marta,'  'Lucia,' 
'Un  Ballo  in  Maschera,'  'Les  Huguenots,' 
'Die  Zauberflote,'  'Die  Meistersinger,'  'Eury- 
anthe,'  '  La  Boh^me,'«etc.  In  1911  she  created 
the  role  of  the  Marschallin  in  Strauss'  'Der 
Rosenkavalier '  at  the  Royal  Opera  in  Berlin. 
In  1918  she  married  William  B.  Kahn,  a  New 
York  banker  of  American  birth.     [  R.IO  ] 

HENDERSON,  WILLIAM  JAMES  (Dec. 
4,  1855,  Newark,  N.  J.),  has  been  in  various 
phases  of  newspaper-work  since  he  was  fifteen. 
He  graduated  from  Princeton  in  1886.  He 
studied  singing  under  Angelo  Torriano  and 
piano  under  Carl  Langlotz  (composer  of  the 
college-song  'Old  Nassau').  In  theory  he  is 
mostly  self-taught.  In  1883-1902  he  was  on 
the  staff  of  the  New  York  'Times,'  first  as  re- 
porter, then  as  music-critic.  Since  1902  he 
has  been  critic  for  the  'Sun.'  In  1889-95  he 
lectured  on  music-history  at  the  New  York 
College  of  Music,  and  since  1904  has  lectured 
on  the  development  of  vocal  art  at  the  Institute 
of  Musical  Art.  His  books  are  thoroughly  in- 
teresting and  valuable.  They  include  The 
Story  of  Music,  1889  (12th  ed.,  1912),  Preludes 
and  Studies,  1891,  What  is  Good  Music  f,  1898, 
How  Music  Developed,  1898,  The  Orchestra  and 
Orchestral  Music,  1899,  Richard  Wagner,  his 
Life  and  his  Dramas,  1901,  Modern  Musical 
Drift,  1904,  The  Art  of  the  Singer,  1906,  and 
Some  Forerunners  of  Italian  Opera,  1911  —  the 
latter  embodying  much  original  research,  be- 
sides The  Soul  of  a  Tenor,  1912,  a  psychological 
study  more  than  a  novel.  Ho  has  written  the 
libretti  of  several  light  operas  and  also  of  Dam- 
rosch's  opera  'Cyrano  de  Bergerac'  (1913),  and 
published  a  volume  of  poems.  Pipes  and  Tim- 
brels (1905).  In  1892-94  he  was  one  of  the 
associate-editors  of  The  Standard  Dictionary. 
He  has  always  been  an  expert  yachtsman  and 
student  of  naval  subjects,  as  witnessed  by  his 
Sea-Yarns  for  Boys,  1894,  Afloat  with  the  Flag, 
1895,  The  Last  Cruise  of  the  Mohawk,  1897,  and 
—  his  most  widely-circulated  book  —  The 
Elements  of  Navigation,  1895  (many  editions, 
rewritten  in  1918).  For  twelve  years  he  was  an 
oflBcer  in  the  Naval  Militia,  was  commissioned 
lieutenant  in  the  Spanish  War,  and  in  1917- 
18  was  instructor  in  navigation  for  the  Naval 
Militia  of  New  York.  He  has  written  stories, 
poems  and  essays  for  a  large  number  of  Ameri- 
can and  English  magazines.  He  is  a  member 
of  the  Institutes  of  Arts  and  Letters  and  of 
Social  Sciences.     [  R.7  ] 

HENNIG,  RUDOLPH  (1845-1904).  See 
Register,  6. 

HENRY,  BERTRAM  CURTIS.  See  Col- 
LBQBS,  3  (Georgetown  C,  Ky.). 


HENRY,  HAROLD  (b.  1884).  See  Reg- 
ister, 9. 

HENRY,  HUGH  THOMAS  (b.  1862).  See 
Register,  7. 

HENRY,  JOHN  (d.  1795).  See  Register, 
1,  under  Storer. 

HENSCHEL,  ISIDOR  GEORG  (Feb.  18, 
1850,  Breslau,  Germany).  See  article  in  Vol. 
ii.  381-2.  In  1905-08  he  taught  at  the  Insti- 
tute of  Musical  Art  in  New  York.  In  1914  he 
retired  from  public  activity  with  a  farewell  re- 
cital in  London,  opening  the  program  with  the 
same  aria  from  'Rinaldo'  that  he  sang  at  his 
first  recital  in  1877.  In  1914  he  was  knighted 
by  King  George.  A  mass  for  eight  voices  a 
cappella  was  first  given  in  1916.  He  has  pub- 
lished Personal  Recollections  of  Brahms,  1907, 
and  Musings  and  Memories  of  a  Musician,  1919. 
[  R.7  ] 

HENSCHEL,  LILLIAN  JUNE,  n§e  Bailey 
(1860-1901).  See  Vol.  ii.  382,  and  Regis- 
ter, 6. 

HENSEL,  OCTAVIA  (1837-1897).  See 
Register,  6. 

HERBERT,  THERESE,  n6e  Forster.  See 
Register,  7. 

HERBERT,  VICTOR  (Feb.  1, 1859,  Dublin, 
Ireland).  See  article  in  Vol.  ii.  384.  Since 
1904  he  has  devoted  himself  almost  entirely 
to  composition,  conducting  only  upon  occasion. 
His  grand  operas  are  'Natoma'  (1911,  Phila- 
delphia) and  'Madeleine'  (1914,  Metropolitan 
Opera  House,  New  York).  His  comic  operas 
are 

'  Prince  Ananias,'  1894. 

'The  Wizard  of  the  Mill,'  1895. 

•The  Gold  Bug,'  1896. 

'The  Serenade,"  1897. 

'The  Idol's  Eye,'  1897. 

'The  Fortune-Teller,'  1898. 

'Cyrano  de  Bergerac,'  1899. 

'The  Singing-Girl.'  1899. 

'The  Ameer,'  1899. 

'The  Viceroy,'  1900. 

'Babes  in  Toyland,'  1903. 

'Babette,'  1903. 

'It  Happened  in  Nordland,'  1904. 

'Miss  Dolly  Dollars,'  1905. 

'Wonderland,'   or    'Alice   and   the  Eight  Prin- 
cesses,' 1905. 

'Mile.  Modiste,'  1905. 

'The  Red  Mill,'  1906. 

'Dream-City,'  1906. 

'The  Magic  Knight,"  1906. 

'The  Tatooed  Man,"  1907. 

'The  Rose  of  Algeria,"  1908. 

'Little  Nemo,'  1908. 

'The  Prima  Donna,'  1908. 

'Old  Dutch,"  1909. 

'Naughty  Marietta,'  1910. 

'When  Sweet  Sixteen,'  1910. 

'Mile.  Rosita,'  1911. 

'The  Lady  of  the  Slippers,'  1912. 

'The  Madcap  Duchess,'  1913. 

'Sweethearts,'  1913. 

'The  Debutante,'  1914. 

'The  Only  Girl,'  1914. 

'Princess  Pat,'  1915. 


HERBST 


HEYDLER 


239 


'Eileen,'  1917. 
'Her  Regiment,'  1917. 
Also  music  for  the  '  The  Fall  of  a  Nation  '  (photo- 
play), 1916. 

HERBST,  GOTTFRIED  (b.  1887).  See 
Register,  10. 

HERING,  JOHN  NORRIS  (June  3,  1886, 
Baltimore) ,  was  trained  first  as  a  choir-boy  at  St. 
Peter's  and  later  at  the  Peabody  Conservatory, 
where  he  graduated  in  1906,  his  teachers  being 
Randolph  in  piano,  Barkworth  in  organ  and 
Boise  in  composition.  While  studying  he  be- 
gan memory-playing  on  the  organ.  For  a  year 
he  taught  at  Hood  College  in  Frederick,  Md., 
substituted  for  Boise  and  Brockway  at  the 
Conservatory,  and  from  1913  taught  in  its 
preparatory  department.  As  an  organist  he 
has  been  constantly  employed  since  1901,  alto- 
gether in  Baltimore  except  in  1909-10,  when 
he  was  in  New  Orleans.  Since  1911  he  has 
been  at  Christ  Chiu-ch  in  Baltimore.  Since 
1903  he  has  given  many  recitals  in  Baltimore 
and  elsewhere  (as  at  the  Jamestown  Exposi- 
tion in  1907),  invariably  from  memory.  He 
became  F.  A.  G.  O.  in  1914,  and  has  been  prom- 
inent in  the  Maryland  Chapter,  becoming  dean 
in  1919.  Since  1910  he  has  been  also  engaged 
in  newspaper-work  with  the  Baltimore  'Star,' 
beginning  as  a  reporter,  but  soon  becoming 
music-critic  and  editorial  writer.  In  1919  he 
was  authorized  by  the  Maryland  Academy  of 
Sciences  to  organize  a  section  for  the  study  of 
music  in  its  relations  to  science,  and  was  made 
chairman  thereof.  He  has  composed  two  move- 
ments of  a  piano-trio  in  G,  an  organ-sonata  in 
E  minor,  a  concert-piece  for  organ,  a  rhapsody 
on  a  chromatic  theme  in  B-flat  for  organ  and 
other  organ-pieces,  service-music  for  both  the 
Episcopal  and  Jewish  services,  and  some  other 
vocal  music.     [  R.9  ] 

HERITAGE,  RICHARD  ABRAHAM  (b. 
1853).  See  Register,  6,  and  Colleges,  3  (Val- 
paraiso U.,  Ind.). 

HERMAN,  REINHOLD  LUDWIG  (b. 
1849).     See  Register,  6. 

HERRMANN,  EDUARD  (b.  1850).  See 
Register,  7. 

HERSHEY  SCHOOL  OF  MUSICAL  ART, 
THE,  in  Chicago,  was  established  in  1875  by 
Sara  Hershey  and  W.  S.  B.  Mathews,  attain- 
ing special  success  in  its  departments  of  organ, 
voice  and  composition.  Clarence  Eddy  was 
general  director  almost  from  the  first,  and  it 
was  here  that  in  1877-79  he  gave  a  series  of 
100  organ-recitals  without  repeating  any  work. 
In  1879  Miss  Hershey  became  Mrs.  Eddy, 
and  in  1885  they  discontinued  the  School. 

HERTZ,  ALFRED  (July  15,  1872,  Frank- 
fort-am-Main,  Germany),  while  a  student  at 
the  Hoch  Conservatory  attracted  the  interest 
of  Von  Billow.  His  teachers  were  Schwarz 
for  piano,  Urspruch  for  composition  and  Fleisch 


for  conducting.  In  1891-92  he  was  conductor 
at  the  Stadt-Theater  in  Halle,  followed  by  three 
seasons  as  HofkapeUmeister  at  Altenburg 
(Saxony),  and  four  at  the  Stadt-Theater  in 
Elberfeld-Barmen.  After  conducting  concerts 
in  London  in  1899,  in  1899-1902  he  was  Kapell- 
meister of  the  Breslau  Stadt-Theater.  In  1902 
he  came  to  New  York  as  conductor  of  German 
opera  at  the  Metropolitan  Opera  House,  re- 
maining until  1915.  He  conducted  the  first 
performances  of  Converse's  'Pipe  of  Desire,' 
Parker's  'Mona'  and  'Fairyland,'  and  Dam- 
rosch's  'Cyrano';  also  the  first  American  per- 
formances of  'Parsifal'  (1913),  Strauss'  'Sa- 
lome' and  '  Rosenkavalier,'  Thuille's  '  Lobetanz' 
and  Humperdinck's  '  Konigskinder. '  Since 
1915  he  has  been  conductor  of  the  San  Fran- 
cisco Symphony  Orchestra.     [  R.9  ] 

HERZOG,  SIGMUND  (b.  1868).  See  Reg- 
ister, 8. 

HESS,  WILLY  (July  14,  1859,  Mannheim, 
Germany).  See  article  in  Vol.  ii.  390.  It  was 
in  1904  that  he  succeeded  Kneisel  as  concert- 
master  of  the  Boston  Symphony  Orchestra, 
and,  except  for  leave  of  absence  in  1907-08,  he 
continued  till  1910,  when  he  followed  Halir  at 
the  Hochschule  in  Berlin.  In  1904-07  he  led 
the  Boston  Symphony  Quartet  and  in  1908-10 
the  Hess-Schroeder  Quartet,  including  Theo- 
dorowicz  as  second  and  Ferir  as  viola.      [  R.5  ] 

HESSELBERG,  :fiDOUARD  GREGORY 
(b.  1870).     See  Register,  8. 

HESSELIUS,  GUSTAVUS.   See  Register,  1. 

HETLEY,  JOYCE  HAZEL  (b.  1889).  See 
Colleges,  3  (Vincennes  U.,  Ind.). 

HEWITT,  JAMES  (1770,  England  :  1827, 
New  York),  who  had  been  violinist  at  the  'Pro- 
fessional Concerts'  at  Hanover  Square  in  Lon- 
don, came  to  New  York  in  1792  with  other 
musicians.  He  was  at  once  recognized  as  both 
player  and  composer,  had  charge  of  many  good 
concerts  and  became  orchestra-leader  for  the 
Old  American  Company.  In  1796  or  '97  he 
bought  out  the  New  York  branch  of  Carr's 
Musical  Repository,  and  was  in  the  publishing 
business  even  earlier.  The  music  attributed 
to  him  includes  a  'Battle'  Overture  in  nine 
movements  (1792),  a  'Storm'  Overture  (1795), 
a  setting  of  Collins'  ode  on '  The  Passions '  ( 1795, 
apparently  the  first  melodrama  written  in 
America),  the  opera  'Tammany'  (1794)  and  va- 
rious music  for  'The  Patriot'  (1794),  'Colum- 
bus' (1797),  'The  Mysterious  Marriage'  (1799) 
and  'Pizarro'  (1800).  See  Sonneck,  Concert- 
Life,  Early  Opera  and  'Early  American  Operas' 
in  /.  M.  G.  Sammelbde.  6.  459-64,  488-9.  [  R.2  ] 

HEWITT,  JAMES.  See  Tune-Books,  1812. 

HEWITT,    Miss   S.     See  Register,  3. 

HEWS,  GEORGE  (1806-1873).  See  Regis- 
ter, 3. 

HEYDLER,  CHARLES  (b.  1861).  See 
Register,  7. 


240 


HEYMAN 


HILL 


HEYMAN,  HENRY  (Jan.  13,  1855,  Oak- 
land, Cal.),  was  educated  at  Oakland  College 
(now  the  University  of  California).  In  1870  he 
went  to  Leipzig,  studying  with  David,  Roent- 
gen, Hermann,  Reinecke  and  Jadassohn,  and  for 
five  years  was  a  violinist  in  the  Gewandhaus  Or- 
chestra. Returning  to  San  Francisco  in  1877, 
he  at  once  began  a  series  of  orchestral  and  cham- 
ber-music concerts,  at  which  many  important 
works  were  performed  for  the  first  time  in  San 
Francisco.  In  1880  he  made  a  concert-tour 
of  Pacific  Coast  cities,  visiting  also  Victoria 
and  Vancouver.  The  next  year  he  became 
concertmaster  of  the  Philharmonic  Orchestra, 
directed  by  Hinrichs,  and  also  brought  out  a 
atring-quartet  by  Kelley.  In  1884  he  made  a 
concert-trip  to  Honolulu,  and  was  appointed 
violinist  to  King  Kalakaua  and  was  knighted. 
By  means  of  his  many  concerts,  including  those 
of  the  Heyman  String-Quartet,  he  has  con- 
tinually introduced  classic  and  modern  com- 
positions to  California  audiences.  He  has  also 
worked  to  raise  the  social  standing  of  local 
musicians.  For  over  forty  years  he  has  been  a 
member  of  the  famous  Bohemian  Club  and  was 
made  an  honorary  life-member  in  1918.  The 
dean  of  violinists  and  teachers  on  the  Pacific 
Coast,  he  has  an  international  reputation  for 
hospitality  extended  to  musicians  and  artists 
who  visit  San  Francisco,  and  numbers  among 
his  friends  an  extraordinary  number  of  celebri- 
ties. In  the  great  fire  of  1906  he  lost  not  only 
his  library  and  collection  of  instruments,  with 
many  valuable  souvenirs,  but  all  his  manuscript 
works,  including  many  revised  violin-Studes. 
Compositions  that  have  been  dedicated  to 
him  are  Saint-Saens'  'filegie'  for  violin  and 
piano,  Jadassohn's  Romanza,  op.  87,  and 
Musin's  Berceuse  and  Waltz.     [  R.6  ] 

HEYMAN,  KATHERINE  RUTH  WIL- 
LOUGHBY,  born  in  Sacramento,  had  a  variety 
of  teachers  in  America  and  abroad.  In  1899 
she  made  her  debut  as  pianist  with  the  Boston 
Symphony  Orchestra  and  then  toured  exten- 
sively, in  1905-15  in  Europe.  Since  1916  she 
has  traveled  again  in  the  United  States.  She 
has  been  active  in  presenting  unfamiliar  works 
—  introducing  American  composers  in  Ger- 
many and  Russia,  and  Russian  composers  in 
America.  Thus  in  1899  she  gave  the  first 
American  rendering  of  Arensky's  concerto  and 
in  1919  the  first  American  recital  of  Scriabin 
alone  (4th  and  8th  Sonatas,  etc.).  She  has 
also  lectured  on  the  contrast  between  Oriental 
and  Occidental  music.  Various  songs  have  been 
published  (Schirmer,  Schmidt,  etc.).     [  R.8  ] 

HICKOK,  J.  H.     See  Tune-Books,  1840. 

HIGGINSON,  HENRY  LEE  (Nov.  18, 
1834,  New  York  :  Nov.  15,  1919,  Boston), 
after  a  partial  course  at  Harvard  was  trained 
as  a  banker,  but  also  in  1856-60  studied  sing- 
ing, piano  and  composition  at  Vienna.     In  the 


Civil  War  he  became  major  and  lieutenant- 
colonel  by  brevet  in  the  1st  Mass.  Cavalry, 
and  in  1863  was  badly  wounded.  From  1868 
he  was  a  member  of  the  banking  firm  of  Lee, 
Higginson  &  Co.  He  was  always  active  in 
educational  undertakings  —  on  the  corporation 
of  Harvard  from  1893,  trustee  of  the  Carnegie 
Institution,  of  the  New  England  Conservatory, 
etc.  In  1881  he  established  the  Boston  Sym- 
phony Orchestra,  provided  an  endowment  of 
about  $1,000,000  for  its  maintenance,  and  for 
over  thirty-five  years  directed  its  policy  with 
conspicuous  wisdom.  In  1918  he  relinquished 
control  to  a  Board  of  Directors.     [  R.7  ] 

HILL,  EDWARD  BURLINGAME  (Sept. 
9,    1872,   Cambridge,    Mass.),   was  born  into 
Harvard  traditions,  being  the  son  of  a  pro- 
fessor and  grandson  of  a  president.     In  1894 
he   graduated   there   with   highest   honors   in 
music,  having  taken  all  of  the  courses  under 
Paine.     He  continued  study  with  Lang,  Bul- 
lard,  Arthur  Whiting,  and  Howard  Parkhurst 
in  Boston  and  New  York,  and  with  Breitner 
and  Widor  in  Paris.     Later  he  also  took  or- 
chestration under  Chadwick.     For  some  years 
he  taught  piano  and  harmony  in  Boston,  was 
critic  for  the  'Transcript'  and  wrote  on  music 
for  magazines.      Since  1908  he  has  been  con- 
nected with  the  Division  of  Music  at  Harvard, 
at  first  as  instructor  and  from  1918  as  assistant- 
professor.     Until  the  war  he  was  head  of  the 
Boston  group  of  the  I.  M.  S.,  and  is  now  presi- 
dent of  the  Composers'  Club  of  Boston  and 
secretary  of  the  American  Friends  of  Musicians 
in  France.    Besides  developing'unusual  courses 
in  the  critical  analysis  of  musical  style  for  his 
Harvard  classes,  he  has  done  fine  original  work. 
His  compositions  include 
Six  Songs,  op.  6  (Breitkopf). 
Four  'Sketches,'  op.  7,  for  piano  (Breitkopf). 
Three  'Poetical  Sketches,'  op.  8,  for  piano  (Breit- 
kopf). 
'Country  Idyls,'  op.  10,  for  piano  (Schirmer). 
Six  Songs,  op.  13,  14  (Boston  Music  Co.). 
'Nuns    of    the    Perpetual    Adoration,'  on  text  by 
Dowson,    op.    1.5,    for   women's   voices   and    or- 
chestra (1909,  Boston,  and  often  since). 
Symphonic     Pantomime,     'Jack     Frost    in     Mid- 
summer,' on  text  by  J.  L.  Smith,  op.   10,  for 
orchestra    (1908,    Chicago    Orchestra,    also    in 
Boston  and  New  York). 
Symphonic  Pantomime,   'Pan  and  the  Star,'   op. 
19   (1914,   MacDowell   Festival  and  at  Boston 
and  Cincinnati). 
Symphonic  Poem,  'The  Parting  of  Lancelot  and 
Guinevere,'  on  text  by  Phillips,  op.  22   (1915, 
St.  Louis  Orchestra,  1916,  Boston  Orchestra). 
'Poem,'  op.  23,  violin  and  orchestra. 
'Stevensoniana,'    op.    24,    four    orchestral    pieces 
after  poems  from  Stevenson's  'Garden  of  Verses' 
(1918,  New  York  Symphony  Society  and  New 
England  Conservatory  Orchestra,  1919,  Boston 
and  Cincinnati  Orchestras). 
Anthem  for  chorus  and  band  (1915,  Centenary  of 

Allegheny  College,  Meadville,  Pa.). 
'Autumn    Twilight,'    song    for    soprano    and    or- 
chestra. [  R.8  ] 


HILL 


HODGES 


241 


HILL,  JUNIUS  WELCH  (Nov.  18,  1840 
Hingham,  Mass.),  after  studying  with  J.  C.  D. 
Parker  in  Boston,  in  1860-63  was  in  Leipzig 
under  Moscheles,  Hauptmann,  Reinecke,  Plaidy 
and  Richter.  He  was  then  organist  at  Tremont 
Temple,  Shawmut  Church,  Tremont  Street 
(M.  E.)  Church  in  Boston  and  at  Harvard 
Church  in  Brookline.  In  1884-97  he  was  pro- 
fessor at  Wellesley  College  and  then  taught  in 
Boston  until,  retiring  from  active  musical  life, 
he  removed  to  Los  Angeles.  An  excellent 
musician  and  teacher,  he  was  particularly  suc- 
cessful in  establishing  high  standards  for  the 
music-department  at  Wellesley.  Mrs.  Beach 
was  his  pupil  in  1881-82.  He  has  composed 
many  choruses  for  women's  voices  and  edited 
collections  of  piano-music.     [  R.5  ] 

HILL,  URELI  CORELLI  (1802?-1875). 
See  Register,  3,  and  Tune-Books,  1831. 

HILL,  URI  K.     See  Tune-Books,  1806. 

HILLE,  GUSTAV  (b.  1851).  See  Register, 
6. 

HINCKLEY,  ALLEN  CARTER  (b.  1877). 
See  Register,  8. 

HINRICHS,  GUSTAV  (b.  1850).  See  Reg- 
ister, 6. 

HINSHAW,  WILLIAM  WADE  (Nov.  3, 
1867,  Union,  la.),  played  the  cornet  at  nine 
and  led  the  village-band  at  thirteen.  He 
graduated  from  Valparaiso  (Ind.)  University 
in  1888,  studying  voice  and  harmony  there 
with  R.  A.  Heritage,  and  later  continued  vocal 
study  with  L.  G.  Gottschalk  and  L.  A.  Phelps 
in  Chicago,  where  he  began  to  teach  singing 
in  1891.  In  1895-99  he  was  dean  of  the  music- 
department  at  Valparaiso  University,  mean- 
while being  also  choir-director  in  Chicago 
churches.  In  1899  he  made  his  debut  in  opera 
at  St.  Louis,  singing  Mephisto  in  'Faust'  with 
the  Savage  Grand  Opera  Company,  with  which 
he  sang  for  four  years.  In  1903  he  opened  the 
Hinshaw  School  of  Opera  in  Chicago  (later 
merged  with  the  Chicago  Conservatory),  of 
which  he  was  president  till  1907.  Since  1909 
he  has  engaged  in  operatic  work,  first  as  founder 
and  director  of  the  International  Grand  Opera 
Company  in  Chicago,  in  1910-13  as  baritone 
at  the  Metropolitan  Opera  House  in  New  York, 
and  since  1917  as  business-manager  and  presi- 
dent of  the  Society  of  American  Singers  in 
New  York.  His  offer  of  a  $1000  prize  for  a 
one-act  opera  by  an  American  composer  was 
awarded  in  1917  to  H.  K.  Hadley  for  'Bianca.' 
His  repertory  includes  over  fifty  roles,  from 
Wagner  operas  (he  sang  at  the  Wagner  festival 
in  Graz,  1912,  and  the  'Ring'  festival  in  Berlin, 
1914)  to  comic  opera  and  baritone-parts  in 
many  oratorios.  He  has  also  given  many 
song-recitals.     [  R.8  ] 

JHINTON,  ARTHUR  (Nov.  20,  1869, 
Beckenham,  England).  See  article  in  Vol.  ii. 
407.     For  some  years  he  has  been  on  the  ex- 


amining-staff  of  the  Associated  Board  of  the 
R.  A.  M.  and  R.  C.  M.,  and  in  consequence 
has  made  several  visits  to  Australia,  New  Zea- 
land, Canada,  Ceylon  and  Jamaica.  The  list 
of  his  works  may  be  revised  as  follows : 

For  orchestra  — 

Suite,     'Endymion,'    three     scenes     after     Keats 
(Fischer) 

Fantasia,  'The  Triumph  of  Ccesar.' 

Symphony  No.  1,  in  B-flat. 

Symphony  No.  2,  in  C  minor. 
For  piano  and  orchestra  — 

Concerto    in     D    minor     (London    Philharmonic 
Society,  Boston  Symphony  Orchestra,  Worces- 
ter Festival,  etc.). 
For  voice  and  orchestra  — 

Scena,    'Semele,'    text   by    Litchfield,    for    mezzo- 
soprano. 

Opera,  'Tamara,'  in  two  acts. 
Chamber-music  — 

Quintet  in    G   minor   (Kneisel    and   Olive    Mead 
Quartets). 

Bolero,  'Ave  Maria,'  'Valse  do  Joie,'  Berceuse  and 
Meditation,  for  violin  and  piano. 
For  piano  — 

'A  Summer  Pilgrimage,'  six  pieces  (Fischer). 

Four  Bagatelles. 

Valse  Caprice,  'Carnival.' 

'Serenatella.' 

Three  Characteristic  Pieces. 

Rhapsody  in  B-flat  minor. 

'  Chant  des  Vagues.' 

'  Etude  Arabesque.' 

'  Oriental  Serenade.' 

Romance  in  A-flat. 
Songs  — 

'Butterflies,'  two  books,  each  of  ten. 

'White  Roses,'  cycle  of  six. 

Eight  Songs  from  Wm.  Blake,  two  books. 

Three  Lyrics  from  Browning's  'In  a  Gondola.' 

Five  Songs  from  Litchfield. 

HIRSCHLER,  DANIEL  A.  (b.  1883).  See 
Colleges,  3  (C.  of  Emporia,  Kan.). 

HISKEY.     See  Register,  3. 

HISSEM-DE  MOSS,  MARY  (b.  1871). 
See  Register,  8. 

HOCKETT,  HOWARD  L.  See  Colleges, 
3  (Whittier  C,   Cal.). 

HODGES,  EDWARD  (July  20,  1796,  Bris- 
tol, England  :  Sept.  1,  1867,  Clifton,  Eng- 
land). See  article  in  Vol.  ii.  414.  When  he 
began  at  Trinity  Church  in  1846  there  was 
much  objection  to  the  severity  of  English 
cathedral  music.  His  Service  in  D,  written  to 
overcome  this,  he  called  his  '  New  York  Service.' 
His  total  work  included  25  anthems,  7  services. 
Psalms  91  and  122,  etc.  See  Messiter,  History 
of  the  Choir  and  Music  of  Trinity  Church,  1906. 
[  R.3  ] 

HODGES,  FAUSTINA  HASSE  (  ?  ,  Bris- 
tol, England  :  Feb.  4,  1896,  Philadelphia). 
See  Vol.  ii.  414,  and  Register,  5. 

HODGES,  JOHN  SEBASTIAN  BACH 
(1830,  Bristol,  England  :  May  1,  1915,  Bal- 
timore) .  See  Vol.  ii.  414.  With  his  sister  Faus- 
tina he  was  brought  to  New  York  in  1845. 
He  graduated  from  Columbia  in  1850  and  from 


242 


HODGKINSON 


HOLLINS 


the  General  Theological  Seminary  in  1854.  In 
1854-56  he  was  assistant  at  Trinity  Church  in 
Pittsburgh,  in  1866-59  taught  at  Nashotah 
Theological  Seminary  in  Wisconsin,  in  1860 
was  rector  at  Grace  Church  in  Newark,  and 
from  1870  at  St.  Paul's  in  Baltimore,  becoming 
emeritus  in  1906.  He  was  an  excellent  organist 
and  composed  many  services,  anthems,  tunes 
and  chants.  He  compiled  The  Book  of  Com- 
mon Praise,  1868,  and  had  much  to  do  with 
the  successive  revisions  of  the  Episcopal  Hym- 
nal. He  founded  in  Baltimore  the  earliest 
choir-school  in  the  United   States.     [  R.5  ] 

HODGKINSON,  JOHN  [real  name  Mead- 
owcraft]  (1767,  England  :  1805,  Washing- 
ton), and  his  wife,  nee  Arabella  Brett,  were 
popular  stage-singers  who  in  1792  were  brought 
to  New  York  by  John  Henry  as  leading  mem- 
bers of  the  Old  American  Company,  appearing 
chiefly  in  New  York,  Philadelphia  and  Boston, 
but  also  in  Hartford  and  Providence,  for  about 
ten  years.  In  1794-96  Hallam  and  Hodgkin- 
son  replaced  Henry  in  the  direction  of  the  Com- 
pany and  in  1796-98  Hodgkinson  and  Dunlap 
were  similarly  associated.  From  1797  Hodg- 
kinson managed  the  Haymarket  Theatre  in 
Boston  at  intervals.  Both  he  and  his  wife 
often  sang  in  concerts,  but  his  ambition  was 
for  dramatic  parts  and  the  managing  of  com- 
panies. He  had  unusual  memory,  readiness 
and  effectiveness  as  an  actor.  In  1796  he  took 
the  leading  role  in  the  production  of  Carr's 
'The  Archers.'  In  1795-99  he  was  president 
of  the  Columbian  Anacreontic  Society  in  New 
York,  which  he  probably  founded.  He  died 
of  yellow  fever  and  his  wife  of  consumption. 
See  Sonneck,  Concert-Life  and  Early  Opera. 
I  R.2  ] 

HOERRNER,  WILLIAM  HENRY  (b. 
1865).     See  Colleges,  1  (Colgate  U.,  N.  Y.). 

HOFFMAN,  RICHARD  (May  24,  1831, 
Manchester,  England  :  Aug.  17,  1909, 
Mount  Kisco,  N.  Y.).  See  article  in  "Vol.  ii. 
414.  On  Dec.  1,  1897,  he  was  given  a  testi- 
monial concert  to  celebrate  the  fiftieth  anni- 
versary of  his  first  appearance  in  New  York. 
On  this  occasion,  besides  a  Chopin  Nocturne 
and  Ballade,  he  played  in  Hummel's  Septet 
(on  the  program  in  1847),  Mozart's  Piano- 
Quartet  in  G  minor  and  a  Bach  concerto. 
After  this  he  gradually  gave  up  playing  in 
public,  though  teaching  till  his  last  days.  Ho 
joined  Gottschalk  in  two-piano  pieces  in  the 
'603  at  his  New  York  concerts  and  played  with 
Von  Bvilow  in  1875  (Bach's  Triple  concerto  in 
D  minor).  See  his  Musical  Recollections  of 
Fifty  Years,  with  biographical  sketch  by  his 
wife,  1910.     [  R.4  ] 

HOFFMAN,  RUDOLF.  See  Colleges,  3 
(Baylor  U.,  Tex.). 

HOFMANN,  JOSEF  CASIMIR  (Jan.  20, 
1876,  Podgorze,  near  Cracow,  Galicia).    See  ar- 


ticle in  Vol.  ii.  417.  In  1888-94  he  studied  com- 
position and  orchestration  with  Urban  at  Berlin. 
In  1896  he  made  the  first  of  many  tours  in 
Russia.  Since  1898  he  has  spent  most  of  his 
time  in  America,  where  he  has  played  with  all 
the  leading  orchestras  and  given  innumerable 
recitals.  In  1905  he  married  the  daughter  of 
J.  B.  Eustis,  former  ambassador  to  France. 
His  compositions  include  five  concertos  (from 
1898),  two  sonatas,  a  symphony  in  E  and 
many  shorter  pieces.  Some  early  works  were 
put  forth  under  the  name  '  Dvorsky.'  He  has 
published  books  on  piano-playing  (1898,  1900, 
1914).     [  R.7  ] 

HOHNSTOCK,  ADELAIDE  (  ?  -1856) 
and  KARL  (1828-1889).    See  Register,  4. 

HOLBROOK,  JOSIAH.  See  Tune-Books, 
1813. 

t  HOLBROOKE,  JOSEF  CHARLES  (July 
5,  1878,  Croydon,  England).  See  articles  in 
Vol.  ii.  418,  and  v.  645.  In  1914-18  he  was 
active  in  giving  concerts  in  provincial  cities 
for  soldiers'  charities.  In  the  fall  of  1919  he 
produced  his  chamber-works  in  recital  in  Lon- 
don. In  1920  he  projects  a  world-tour.  To 
the  list  of  works  the  following  may  be  added : 

Soena,  'Marino  Faliero'  (1905,  Bristol  Festival). 

Symphony,  'Les  Hommages'   (1906). 

Dramatic  Choral  Symphony,   in  memory  of  Poe 

(1908). 
Fantasie-Concerto,     'Gwyn-ap-Nudd,'     for    piano 

(1911). 
Quartet,  'Impressions,'  op.  51,  for  strings  (Novello). 
Quartet,       'Belgium-Russia,      1915,'     for     strings 

(Novello). 
Quartet  in  two  parts,  'Pickwick  Club,'  op.  68,  for 

strings  (Novello). 
Three  Suites,  opp.  71,  73,  74  (Novello). 
Four  Ballets,   'The   Moth   and   the   Flame,'   'The 

Red  Masque,'  'Coromanthe'  and  'The  Wizard.' 
Operatic  Trilogy,  'The  Children  of  Don'  (1912), 

'Dylan'  and  'Bronwen,  Daughter  of  Llyr,'  op. 

79  (Novello). 
Comic  Opera,  'The  Snob,'  op.  82  (Novello). 
Sextet,  four  dances  for  piano  and  strings  (arr.  as 

piano-duet,  Ricordi). 
Concerto  for  violin  (Ricordi,  also  in  piano-score). 
Eight  'Mezzotints,'  op.  56,  for  clarinet  and  piano 

(Ricordi). 
Three   Dramatic  Songs,  op.   69,   with  piano  and 

strings  (Enoch). 
Six  Piano  Fantasies, '  The  Orient' :  'Java,'  'Burma,' 

'Sumatra,'  'Siam,'  'Annam,'  'China'  (Enoch). 
Ten  Etudes  for  piano,  op.  53  (Ricordi). 
'Taliessen'a  Song,'  for  tenor  or  baritone  (Novello). 

HOLDEN,  ALBERT  JAMES  (1841-1916). 
See  Register,  6. 

HOLDEN.  OLIVER  (1765-1834?).  See 
Register,  2,  and  Tune-Books,  1792. 

t  HOLLINS,  ALFRED  (Sept.  11,  1865, 
Hull,  England).  See  article  in  Vol.  ii.  420-1. 
On  his  second  visit  to  America  (1888)  he  came 
alone,  and  played  concertos  with  the  New  York 
Philharmonic  Society,  the  Boston  Symphony 
Orchestra  and  other  leading  organizations. 
In  1907,  '09  and  '16  he  made  recital-tours  in 


HOLMAN-BLACK 


HOLST 


243 


South  Africa  —  on  the  last  opening  the  organ 
in  the  Town  Hall  at  Johannesburg,  for  which  he 
drew  the  specification.  His  great  hobby  is  or- 
gan-mechanism. Among  his  numerous  organ- 
works  are  Concert-Overtures  in  C  and  C  minor, 
a  Concert-Rondo,  Grands  Choeurs  in  G  minor 
and  C,  Triumphal  and  Coronation  Marches, 
several  pieces  of  bridal-music,  many  preludes, 
etc. 

HOLMAN-BLACK,  CHARLES.  See  Reg- 
ister, 7. 

HOLMBERG,  GUSTAF  FREDRIK  (Aug. 
17,  1872,  Fridened  Parish,  Sweden),  came  to 
America  in  1891,  having  had  a  good  general 
education,  including  some  violin-lessons.  At 
Bethany  College  in  Kansas,  where  he  graduated 
from  the  music-school  in  1899 ,  he  was  concert- 
master  and  assistant-conductor  in  the  orchestra 
at  the  annual  festivals,  and  continued  as  teacher 
of  violin  and  harmony.  Since  1903  he  has  been 
music-director  at  the  University  of  Oklahoma 
at  Norman,  where  from  small  beginnings  a 
notable  department  was  rapidly  developed, 
now  forming  part  of  the  School  of  Fine  Arts,  of 
which  he  has  been  dean  since  1909.  Not  only 
are  choral  and  orchestral  concerts  prominent, 
but  interscholastic  contests  in  music,  art  and 
expression  have  since  1912  become  keen  and 
absorbing.  He  has  also  lectured  widely  on 
musical  and  artistic  subjects.     [  R.8  ] 

HOLMES,  EDWARD  (1797-1859).  See 
Register,  4. 

HOLMES,  HENRY  (1839-1905).  See  Vol. 
ii.  421,  and  v.  645,  and  Register,  8. 

HOLSINGER,  GEORGE  B.  See  Col- 
leges, 3  (Bridgewater  C,  Va.). 

HOLST,  EDVARD  (1843-1899).  See  Reg- 
ister, 6. 

t  HOLST,  GUSTAV  VON  (Sept.  21,  1874, 
Cheltenham,  England).  See  article  in  Vol. 
V.  645.  For  a  time,  after  leaving  the  Royal 
College,  he  was  rep6titeur  and  trombone-player 
with  the  Carl  Rosa  Opera  Company,  and  later 
was  connected  with  the  Scottish  Orchestra. 
He  is  still  musical  director  at  Morley  College, 
and  also  principal  music-teacher  at  St.  Paul's 
Girls'  School.  In  1918,  under  the  educational 
scheme  of  the  Y.  M.  C.  A.,  he  went  to  Saloniki, 
Constantinople  and  Asia  Minor  as  musical 
organizer  in  army-camps.  The  complete  list 
of  his  works  is  as  follows : 

Opera,  'The  Revoke,'  op.  1,  in  one  act  (1895). 

'Fantasiestiicke,'  op.  2,  for  oboe  and  strings  (1896). 

Quintet,  op.  3,  for  piano  and  wind  (1896). 

Four  Songs,  op.  4  (1896)  (Laudy). 

'Clear  and  Cool,'  op.  5,  for  five-part  chorus  and 
orchestra  (1897). 

Scena,  'Ornult's  Drapa,'  op.  6,  for  baritone  and 
orchestra  (1898). 

Overture,  'Walt  Whitman,'  op.  7  (1899). 

Symphony,  'Cotswolds,'  op.  8  (1900,  given  at 
Bournemouth,  1902). 

'Ave  Maria,'  for  women's  voices  in  eight  parts 
(1900)  (Laudy). 


'Ballet-Suite'  in  E-flat,  op.  10  (1900)  (Novello). 

Opera,  'The  Youth's  Choice,'  op.  11  (1902). 

Part-Songs,  op.  12  (1902). 

Symphonic  Poem,  'Indra,'  op.  13  (1903). 

Quintet  for  wind,  op.  14. 

Six  Songs  for  baritone,  op.  15  (1902). 

Six  Songs  for  soprano,  op.  16. 

Ballad,   'King  Estmere,'   op.    17,   for  chorus  and 

orchestra  (1903)  (Novello). 
'The  Mystic  Trumpeter,'  op.  18,  for  soprano  and 

orchestra  (1904). 
'Song  of  the  Night,'  op.  19,  no.  1,  for  violin  and 

orchestra  (1905). 
'Invocation,'  op.  19,  no.  2,  for  'cello  and  orchestra 

(1911,  Queen's  Hall). 
Songs  from   'The   Princess,'   op.   20,   for  women's 

voices  (Novello). 
Four  Carols  (Bayley  &  Ferguson). 
Songs  without  Words,  'Marching-Song,'  'Country- 
Song,'     op.     22,     for     small     orchestra     (1906) 

(Novello). 
Opera,  'Sita,'  op.  23,  in  three  acts. 
'Hymns  from  the  Rig- Veda,'  op.  24,  for  solo  voice 

—  'Dawn,'       'Varuna,'       'Creation,'       'Indra,' 

'Maruts,'  'Frogs,'   'Faith,'  'Vac'   (Chester). 
Song,  'The  Heart  Worships,'  for  soprano  (Stainer 

&  Bell). 
'Songs  of  the  West,'  op.  21a,  a  selection  from  the 

West  Country,  for  orchestra. 
'A   Somerset    Rhapsodj','   op.   216,   for   orchestra 

(given  by  Edward  Mason). 
Opera  di  camera,  'Savitri,'  op.  25  (1908,  produced 

1916). 
'Choral  Hymns  from  the  Rig- Veda,'  op.  26,  four 

groups,  for  chorus  or  semichorus  with  orchestra 

or  harp  (1908-12,  given  by  Mason)  (Stainer). 
Incidental  Music  to  'A  Vision  of  Dame  Christian,' 

op.  27a,  a  masque  at  St.  Paul's  School  (1909). 
Incidental  Music  to  the  Stepney  Pageant,  op.  276, 

for  children. 
Two  Suites  for  military  band,  op.  28  (1911). 
Oriental  Suite  in  E  minor,   'Beni  Mora,'  op.  29, 

no.    1,   for  orchestra    (1910,   given   at   Gardiner 

concerts). 
Fantastic   Suite,   'Phantastes,'   op.   29,   no.   2,   for 

orchestra  (1911,  given  at  Paton's  Fund  concerts). 
Ode,   'The   Cloud-Messenger,'   op.    30,   for   chorua 

and  orchestra  (1910,  given  at  Gardiner  concerts) 

(Stainer). 
'  Christmas-Day,'      for      chorus     and      orchestra 

(Novello). 
Four   '  Part-Songs   for    Children,'   from    Whittier 

(Novello). 
Two    'Eastern    Pictures,'  for  women's  voices  and 

harp  (1911)  (Stainer). 
'Hecuba's   Lament,'   from   'The   Trojan   Women,' 

op.  31,  no.   1,  for  alto,  women's  voices  and  or- 
chestra. 
'Hymn  to  Dionysus,'  op.  31,  no.  2,  for  chorus  and 

orchestra  (given  at  Gardiner  concerts)  (Stainer). 
Two  Psalms  for  chorus,  strings  and  organ  (1912) 

( Augener) . 
Suite  in  C,  for  string-orchestra  (1913). 
Part-Songs,  'A  Dirge  for  Two  Veterans,'  for  men's 

voices  and  brass  (1914)  (Curwen). 
Suite,    'The    Planets'  —  'Mars,'    'Venus,'    'Mer- 
cury,' 'Jupiter,'  'Saturn,'  'Uranus,'   'Neptune,' 

op.    32,    for   orchestra    (1915,    given    in   part  by 

Philharmonic  Orchestra,  1919). 
Japanese  Suite,  op.  33,  for  orchestra  (1916,  given 

then  and  1919). 
Part-Songs,  op.  34  (1916)  (Augener). 
Four  Songs  with  violin,  op.  35  (Chester). 
Choruses  from  'Alcestis,'  for  women's  voices,  harp 

and  flutes. 


244 


HOLT 


HOPE-JONES 


Three  Hymns  for  chorus  and  orchestra,  op.  36 
(Stainer). 

Six  Choral  Folk-Songa,  op.  36  (Curwen). 

'The  Hymn  of  Jesus,'  op.  37,  for  two  choruses 
and  semichorus,  orchestra,  piano  and  organ 
(1917)  (Stainer). 

Part-Songs  for  Children,  op.  38. 

Ballet  to  the  opera  'The  Perfect  Fool,'  for  or- 
chestra (1918). 

'Ode  to  Death,'  words  by  Whitman,  for  chorus 
and  orchestra  (1919). 

See  articles  by  Edwin  Evans  in  '  The  Musical 
Times,'  Oct.,  Nov.,  Dec,   1919. 

HOLT,  BENJAMIN  (1774-1861).  See 
Register,  3,  and  Tune-Books,   1S03. 

HOLY,  ALFRED  (Aug.  5,  1866,  Oporto, 
Portugal),  although  the  son  of  the  director  of 
the  Oporto  Conservatory,  had  most  of  his  train- 
ing in  violin  and  harp  at  the  Prague  Conserv- 
atory, where  ho  graduated  in  1885  and  till 
1896  played  at  the  opera-house.  In  1896-1903 
he  was  harpist  at  the  Berlin  Royal  Opera  and 
in  1903-13  at  the  Vienna  Imperial  Opera  and 
Philharmonic,  besides  playing  at  the  Bayreuth 
festivals.  Since  1913  he  has  been  solo  harpist 
in  the  Boston  Symphony  Orchestra.  His 
published  works  include  some  35  solos,  pieces 
for  harp  and  other  instruments,  transcriptions 
and  studies.  A  comedy-opera,  'Das  Marchen 
vom  Gliick,'  was  given  in  Hamburg  in  1909. 
[  R.IO  ] 

HOLYOKE,  SAMUEL  ADAMS  (1702- 
1820).  See  Register,  2,  and  Tune-Books, 
1791. 

HOMER,  LOUISE  DILWORTH,  nee  Beatty 
(1872?,  Pittsburgh),  the  daughter  of  William 
P.  Beatty,  who  in  1869  founded  the  Pennsyl- 
vania CoUege  for  "Women,  was  educated  in 
Minneapolis  and  at  West  Chester,  Pa.  She 
had  some  singing-lessons  in  Philadelphia  and 
then  studied  in  Boston  with  W.  L.  Whitney  and 
Sidney  Homer,  marrying  the  latter  in  1895  and 
going  with  him  to  Paris,  where  she  had  further 
instruction  from  Fid  tile  Koenig  and  Lherie. 
She  first  appeared  as  concert-contralto  in  Paris 
under  d'Indy  and  in  1898  made  her  stage-debut 
in  'La  Favorita'  at  Vichy.  In  1899-1900  she 
was  at  Covent  Garden  in  London,  singing  both 
Italian  and  Wagnerian  roles,  besides  appearing 
eighty  times  at  La  Monnaie  in  Brussels.  From 
1900  to  1919  she  was  continuously  engaged  at 
the  Metropolitan  Opera  House  in  New  York. 
She  has  also  sung  with  all  the  leading  orchestras, 
at  the  Worcester,  Springfield  and  Cincinnati 
festivals  and  in  recital.  Her  favorite  roles  are 
Amneris,  Orfeo,  Dalila  and  Fides  (in  'Le  Pro- 
phfete'),  but  she  has  won  success  in  many  oth- 
ers, such  as  Madame  de  la  lialti^re  (in  '  Cendril- 
lon'),  Ortrud,  Erda,  Fricka  (in  'Die  WalkiJre '), 
Waltraute,  Brangane,  Magdalena  (in '  Die  Meis- 
tersinger'),  the  Witch  (in  'Hansel  und  Ore tel' 
and  'Die  Konigskinder'),  Azucena,  Laura  (in 
'La  Gioconda'),  Dame  Quickly  (in  'Falstaff'), 
Hedwig  (in  'Manru'),  etc.     [  R.8.  ] 


HOMER,  SIDNEY  (Dec.  9,  1864,  Boston), 
after  training  at  the  Boston  Latin  School  and 
Phillips  (Andover)  Academy,  studied  with 
Chadwick  in  Boston,  with  two  years  at  Leipzig 
and  three  under  Rheinberger,  Abel  and  Hieber 
at  Munich.  In  1888-95  he  taught  harmony 
and  counterpoint  in  Boston,  lecturing  also  on 
symphonies  and  the  Wagnerian  dramas.  In 
1895  he  married  Louise  D.  Beatty,  who  had 
boen  his  pupil  in  harmony.  Since  1900  he  has 
lived  in  New  York,  almost  wholly  engaged  with 
song-composition.  About  80  of  his  songs  are 
published  by  Schirmer,  including  'Sweet  and 
Low,'  'Thy  Voice  is  Heard,'  'A  Woman's  Last 
Word,'  'Prospice,'  'The  Poor  Man's  Song,' 
'  The  Last  Leaf,'  '  Sing  me  a  song  of  a  lad  that 
is  gone,'  'Requiem,'  'The  Stormy  Evening,' 
songs  from  Stevenson's  A  Child's  Garden  of 
Verses,  'The  Pauper's  Drive,'  'The  Bandanna 
Ballads'  (including  the  popular  'Banjo  Song'), 
'Dearest,'  'The  Song  of  the  Shirt,'  'How's  my 
Boy,'  'Boats  Sail  on  the  Rivers,'  'Ferry  me 
across  the  water,'  'Six  Songs  of  the  Old 
South,'  'Three  Scotch  Poems'  and  'Home 
they  brought  her  warrior  dead.'  In  addition 
there  are  '  Mother  Goose,'  35  songs  (Macmillan) 
and  'Homeland'  (Flammer).  See  pamphlet 
in  Schirmer's  Course  in  Contemporary  Musical 
Biography,  1919.     [  R.8  ] 

HOOD,  HELEN  (June  28,  1863,  Chelsea, 
Mass.),  was  a  pupil  in  Boston  of  Lang  in  piano 
and  of  Chadwick  in  composition,  and  for  a  year 
was  under  Moszkowski  in  piano  in  Berlin. 
Most  of  her  published  works  are  songs,  opp. 
1,  2,  7  (sLx  'Song-Etchings'),  9,  13,  14,  18  (sa- 
cred), with  three  part-songs  (including  'The 
Robin,'  op.  3),  a  Te  Deum  in  E-flat,  op.  15, 
three  piano-pieces,  op.  8,  eight  for  violin,  and 
piano,  opp.  6,  10,  two  for  two  violins  and  piano, 
op.  12,  a  piano-trio,  op.  11,  and  a  string-quar- 
tet in  D,  op.  16.     [  R.7  ] 

HOOK,  ELIAS  (1805-1881)  and  GEORGE 
G.  (1807-1880).     See  Register,  3. 

HOOK,  E.  &  G.  G.,  was  an  organ-making 
business  started  in  1827  at  Salem,  Mass.,  by 
Elias  and  George  G.  Hook,  the  former  having 
been  an  apprentice  of  William  M.  Goodrich. 
In  1832  they  moved  to  Boston,  where  they  be- 
came for  many  years  leading  manufacturers. 
Up  to  1855  they  built  170  organs.  At  that 
time  Frank  H.  Hastings  (1836-1916)  joined 
them,  becoming  a  partner  in  1865,  when  the 
firm  became  Hook  &  Hastings.  In  1887  a  fine 
new  factory  was  built  at  Kendal  Green,  Mass., 
and  in  1893  the  business  was  incorporated  as 
the  Hook  &  Hastings  Co.  The  total  output 
of  the  firm  since  the  beginning  is  about  2500 
instruments,  including  many  that  have  been 
famous.  See  Jones,  Handbook  of  American 
Music  and  Musicians,   p.  76. 

HOPE-JONES,  ROBERT  (Feb.  9,  1859, 
Hooton  Grange,  England      :     Sept.  13,  1914, 


HOPEKIRK 


HOPKINSON 


245 


by  suicide,  Rochester,  N.  Y.),  at  fifteen  was 
organist  of  the  Birkenhead  School  Chapel,  at 
seventeen  was  apprenticed  to  Laird  Bros.,  an 
electrical  and  shipbuilding  firm  at  Birkenhead, 
and  later  became  chief  engineer  of  the  National 
Telephone  Co.  His  interest  in  the  organ  per- 
sisted, and  despite  his  progress  as  an  electrical 
inventor,  he  turned  to  organ-building  in  1S89. 
He  came  to  the  United  States  in  1903,  and  for 
two  years  was  with  the  Austin  Organ  Co.  and 
for  two  more  with  the  Skinner  Co.  In  1907 
the  Hope-Jones  Organ  Co.  was  formed  and 
located  at  Elmira,  N.  Y. ;  but  in  1910  this  was 
taken  over  by  the  Wurlitzer  Co.,  and  the  plant 
moved  to  North  Tonawanda,  N.  Y.  He  held 
decidedly  radical  views  about  organ-making, 
introducing  a  long  series  of  ingenious  inventions 
and  advocating  them  with  zeal,  but  many  of 
them  have  not  been  widely  approved,  despite 
their  cleverness.  See  Vol.  iii.  551-2,  and  Miller, 
The  Recent  Revolution  in  Organ-Building .  [  R.9  ] 

HOPEKIRK,  HELEN  (May  20,  1856, 
Edinburgh,  Scotland),  had  her  early  training 
in  Edinburgh  under  Lichtenstein  and  Macken- 
zie, and  continued  at  the  Leipzig  Conservatory, 
in  Vienna  under  Leschetizky  and  Navrdtil, 
and  in  Paris  under  Mandl  (orchestration). 
Her  debut  as  pianist  was  at  the  Gewandhaus 
in  Leipzig  in  1879.  She  also  played  at  the 
Crystal  Palace  in  London,  introducing  the 
Grieg  and  Saint-Saens  (G  minor)  concertos, 
with  the  Scottish  Orchestra  under  Manns  and 
Henschel,  with  the  Vienna  Philharmonic  under 
Richter,  at  the  Richter  concerts,  in  London, 
with  Halle's  Manchester  Orchestra,  with  the 
Boston  Symphony  under  Henschel,  Nikisch  and 
Gericke,  with  orchestras  directed  by  Thomas 
and  Van  der  Stucken,  and  with  the  Kneisel 
Quartet  and  other  chamber-music  organiza- 
tions, besides  giving  many  recitals.  Since  1883 
she  has  lived  in  America,  from  1897  becoming 
a  favorite  teacher  in  Boston.  From  1919  she 
returned  to  Edinburgh  for  part  of  each  year. 
She  introduced  in  America  many  works  by 
modern  French  composers,  including  pieces  by 
Debussy,  the  d'Indy  quartet  (Boston,  1901), 
and  the  Faure  quintet  in  D  minor  (New  York, 
1907).  Her  compositions  include  about  100 
songs  (about  half  of  them  published),  such  as 
'Under  the  Still,  White  Stars'  (vioHn-obbli- 
gato),  'My  Heart's  in  the  Highlands'  (for 
chorus),  eleven  on  poems  of  Fiona  Macleod, 
'Voice  of  the  Mountains,'  'A  Song  of  Glen 
Dun,'  'Blows  the  Wind  To-day,'  'Reconcilia- 
tion' (from  Whitman),  and  three  to  Biblical 
words;  a  piano-concerto  and  a  'Concertstiick' 
(both  played  with  the  Boston  Symphony  Or- 
chestra), two  piano-suites  and  several  piano- 
pieces  ;  sonatas  for  violin  and  piano,  in  E  minor 
and  D,  and  other  violin-pieces ;  and  some  works 
for  orchestra.     [  R.7  ] 

HOPKINS,  EDWARD  JEROME  (Apr.  4, 


1836,  Burlington,  Vt.  :  Nov.  4,  1898,  Athe- 
nia,  N.  J.),  began  organ-playing  at  ten,  at- 
tended the  University  of  Vermont  and  the 
New  York  Medical  College,  but  from  1856, 
though  self-taught  in  music,  undertook  teach- 
ing, lecturing  and  composing.  In  1856  he 
founded  the  American  Music  Association  to 
promote  works  by  American  composers,  in 
1865  the  Orpheon  Free  Schools  in  New  York, 
which  in  twenty  years  enrolled  over  30,000 
pupils,  and  in  1868  'The  New  York  Philhar- 
monic Journal,'  which  he  conducted  till  1885. 
He  gave  'lecture-concerts'  throughout  the 
country,  and  for  some  years  was  church-organ- 
ist. He  composed  over  700  works  —  the  operas 
'Samuel'  (1877,  New  York)  and  'Dumb  Love' ; 
a  symphony;  'Easter  Festival  Vespers'  for 
three  choirs,  two  organs,  orchestra,  harp  and 
cantor ;  a  fantasia  for  five  pianos  ;  etc.  Two 
collections  of  church-music,  an  Orpheon  Class- 
Book  and  other  works  were  published.     [  R.4  ] 

HOPKINS,  HARRY  PATTERSON  (b. 
1873).     See  Register,  8. 

HOPKINSON,  FRANCIS  (Sept.  21,  1737, 
Philadelphia  :  May  9,  1791,  Philadelphia), 
seems  likely  to  stand,  as  Sonneck  calls  him, 
'the  first  native  poet-composer  of  the  United 
States. '  He  was  the  first  student  matriculated 
at  what  is  now  the  University  of  Pennsylvania, 
where  he  graduated  in  1757  and  was  made  A.M. 
in  1760  and  LL.  D.  in  1790.  In  1761  he  was 
admitted  to  the  bar,  in  1766-67  was  in  England, 
and  became  active  in  politics  from  1768.  In 
1774  he  became  a  member  of  the  Provincial 
Council  of  New  Jersey  and  in  1776,  represent- 
ing that  state,  was  a  signer  of  the  Declaration 
of  Independence.  In  1787  he  participated  in 
the  convention  that  framed  the  Constitution 
of  the  new  United  States.  In  1779  he  was 
made  Admiralty  Judge  for  Pennsylvania  and 
in  1790  Judge  of  the  United  States  District 
Court.  Besides  more  serious  writing,  he 
exerted  much  influence  through  poems  and 
satires.  His  essays  and  miscellaneous  writings 
were  published  in  three  volumes  in  1792  (see 
Allibone,  Dictionary  of  Authors). 

He  evidently  took  up  the  harpsichord  when 
about  seventeen  and  attained  considerable 
proficiency.  At  the  College  Commencement 
of  1760  he  was  represented  as  composer  and 
he  may  have  then  played  on  the  new  organ. 
In  1764  the  vestry  of  Christ  and  St.  Peter's 
United  Churches  thanked  him  for  teaching  the 
children  to  sing,  and  in  the  same  year  the  con- 
sistory of  the  Reformed  Dutch  Church  in  New 
York  employed  him  to  make  an  English  version 
of  their  Psalter.  He  invented  an  improved 
method  of  quilling  harpsichords,  which  at- 
tracted attention  in  Europe,  and  he  followed 
Franklin  in  experimenting  with  the  harmonica. 

A  collection  of  songs  composed  by  Hopkinson 
was  begun  in  1759,  and  his  '  My  days  have  been 


246 


'HORA  NOVISSIMA' 


HUBAY 


80  wondrous  free,'  from  that  year,  is  doubtless 
the  earliest  extant  secular  piece  of  American 
origin.  In  1788  a  set  of  Seven  Songs  for  the 
Harpsichord  or  Forte-Piano  —  '  the  Words  and 
Music  by  Francis  Hopkinson'  was  published 
in  Philadelphia.  It  is  dedicated  to  Washington, 
and  in  so  doing  Hopkinson  claims  the  credit  'of 
being  the  first  Native  of  the  United  States  who 
has  produced  a  Musical  Composition.'  See 
O.  G.  Sonneck,  article  in  I.  M.  G.  Sammelbde. 
5.  119-54,  and  Francis  Hopkinson  and  James 
Lyon,  1905.  Six  of  Hopkinson's  songs,  edited 
by  H.  V.  Milligan,  are  published  by  Schmidt 
(1919).     I  R.l  ] 

'HORA  NOVISSIMA.'  An  oratorio  by 
Horatio  Parker,  op.  30,  finished  in  1893  and 
first  given  by  the  New  York  Church  Choral 
Society  at  Holy  Trinity  Church.  The  text, 
effectively  translated  by  the  composer's  mother, 
is  taken  from  the  famous  poem  of  Bernard  of 
Cluny.  It  immediately  took  rank  as  the 
strongest  oratorio  by  an  American  composer, 
and  has  been  extensively  performed  both  in 
America  and  in  England. 

HORN,  CHARLES  EDWARD  (1786-1849). 
See  Register,  3. 

HORNER,  RALPH  JOSEPH  (Apr.  28, 
1848,  Newport,  England),  after  study  at  Leip- 
zig under  Moscheles,  Reinecke,  Richter  and 
Papperitz,  in  1868  settled  in  London  as 
teacher  of  piano,  singing  and  harmony.  He 
conducted  the  Peckham  Choral  Society  and 
in  1873-75  was  choirmaster  at  St.  Mary's, 
Peckham,  In  1879-90  he  conducted  Sullivan's 
operas  on  tour,  and  also  led  operas  at  the  Strand 
Theatre  and  the  Alexandra  Palace  in  London. 
In  1888  he  moved  to  Nottingham,  conducting 
musical  societies  and  in  1895-1905  lecturing  at 
University  College.  Durham  University  made 
him  Mus.B.  in  1893  and  Mus.D.  in  1898. 
Coming  to  New  York,  in  1906-09  he  toured 
as  operatic  conductor,  and  then  located  in 
Winnipeg,  Manitoba,  as  director  of  the  Imperial 
Academy  of  Music  and  Arts.  He  has  con- 
ducted musical  societies,  from  1916  was  band- 
master in  the  Canadian  Army,  and  is  on  the 
Council  of  the  Canadian  Guild  of  Organists. 
He  has  published  the  dramatic  cantata  '  Con- 
fucius,' many  songs,  choruses  and  piano-pieces. 
Unpublished  are  the  grand  opera  'Amy  Robsart,' 
the  comic  operas  'The  Belles  of  Barcelona' 
(1911,  Winnipeg)  and  'Mesmerania' ;  two  ora- 
torios, 'St.  Peter'  and  'David's  First  Vic- 
tory ' ;  four  sacred  cantatas ;  a  symphony  and 
other  orchestral  works  ;  six  operettas,  of  which 
'Four  by  Honors'  was  played  for  over  a  year 
by  D'Oyly  Carte's  Opera  Company ;  a  string- 
quartet  ;  etc.     [  R.9  ] 

HORSLEY,  CHARLES  EDWARD  (1822- 
76).     See  Register,  6. 

HORVATH,  CECILE,  n6e  Ayres  (b.  1889) 
and  ZOLTAN  DE  (b.  1886).    See  Register,  10. 


HOUGH.  GEORGE.  See  Tune-Books. 
1808. 

HOUSELEY,  HENRY  (Sept.  20,  1851, 
Sutton-in-Ashfield,  England),  had  his  first  en- 
gagements as  organist  at  St.  Luke's  in  Derby 
and  St.  James'  in  Nottingham.  In  1888  he 
came  to  Denver,  succeeding  Dr.  Gower  as 
organist  at  St.  John's  Cathedral,  where  he  has 
been  held  in  honor  ever  since.  He  has  also 
achieved  success  in  promoting  both  choral  and 
orchestral  work  in  Denver.  He  is  F.  R.  C.  O. 
and  a  founder  of  the  A.  G.  O.  His  composi- 
tions include  a  string-quartet ;  six  orchestral 
pieces  (Minneapolis,  St.  Louis  and  Denver 
Symphony  Orchestras) ;  three  one-act  operas, 
'Pygmalion,'  'Narcissus  and  Echo,'  and  'The 
Philippino'  (all  given  in  Denver)  ;  two  comic 
operas,  'Native  Silver'  and  'The  Juggler' 
(also  in  Denver) ;  12  organ-pieces  (being  pub- 
lished) ;  the  dramatic  cantata,  'Omar  Khay- 
ydm '  (Gray)  ;  12  anthems  (Schmidt) ;  and 
many  songs.  Five  cantatas  for  chorus  and 
orchestra,  composed  for  the  Cathedral  and 
often  performed,  are  'The  Nativity,'  'Calvary,' 
'Easter-Morn,'  'The  Resurrection-Morn 'j  and 
'Awake  and  Sing.'     [  R.7  ] 

HOWARD,  GEORGE  HENRY  (1843- 
1917).    See  Register,  5. 

HOWARD,  KATHLEEN,  born  at  Clifton. 
Ont.,  studied  with  Saenger  in  New  York  and 
Bouhy  and  Jean  de  Reszk6  in  Paris.  In  1907 
she  made  her  debut  as  contralto  in  'II  Trova- 
tore*  at  Metz,  continuing  there  for  two  seasons. 
In  1909-12  she  sang  at  the  Grand-Ducal  Opera 
at  Darmstadt,  and  then  toured  extensively  on 
the  Continent  and  in  England,  singing  with 
leading  orchestras  and  as  'guest'  at  opera- 
houses.  In  1913  she  took  a  prominent  part 
at  the  Wagner  Festival  under  Nikisch,  and 
was  the  first  to  sing  in  England  the  Witch  in 
'Die  Konigskinder. '  In  1913-15  she  was  with 
the  Century  Opera  Company  in  New  York  and 
appeared  also  in  concert.  Since  1916  she  has 
been  at  the  Metropolitan  Opera  House.  Her 
repertoire  includes  about  eighty  operas  in  four 
languages.  In  1915  she  sang  in  the  premiere 
of  Parker's  'Fairyland'  and  in  1917  at  the  first 
American  performance  of  Rabaud's  '  M^rouf.' 
She  has  published  Confessions  of  an  Opera- 
Singer,  1918.  In  1916  she  married  Edward 
K.  Baird,  a  New  York  lawyer  who  was  presi- 
dent of  the  Century  Opera  Company.    [  R.9  ] 

HOWE,  ELIAS  (1820-95).  See  Regis- 
ter, 5. 

HOWE,  JAMES  HAMILTON  (b.  1856). 
See  Colleges,  3  (DePauw  U.,  Ind.). 

HOWE,  SOLOMON.  See  Tune-Books, 
1799. 

HOWLAND,  WILLIAM  (b.  1871).  See 
Register,  7. 

t  HUBAY,  JENO  (Sept.  14,  1858,  Budapest, 
Hungary).     See  article  in  Vol.  ii.  437.     Add  to 


HUBBARD 


HUMISTON 


247 


list  of  works  the  operas  'Moosroschen'  (1903, 
Pest),  'Lavothas  Liebe'  (1906,  Pest)  and  'Anna 
Karenina'  (1915,  Pest),  two  symphonies  and 
four  violin-concertos. 

HUBBARD,  JOHN  (1750-1810).  See  Tune- 
Books,  1789. 

HUBBARD,  JOHN.  See  Tune-Books,  1814. 

HUBBARD,  W.  S.     See  Tune-Books,  1842. 

X  HUBER,  HANS  (June  28,  1852,  Schone- 
werd,  Switzerland).  See  article  in  Vol.  ii.  437- 
8.  Recent  works  in  large  form  are  the  operas 
'DerSimplicius'  (1912,  Basle),  'FruttadiMare' 
(1914,  Basle)  and  'Die  schone  Belinde'  (1916, 
Berne),  six  symphonies  (making  seven)  and 
the  oratorio  'Weissagung  und  Erfiillung,'  be- 
sidep  a  long  list  of  lesser  works,  including  much 
chamber-music.  For  complete  list,  see  Baker, 
Diet,  of  Musicians,  p.  418. 

HUBERDEAU,  GUSTAVE  (b.  1878?). 
See  Register,  9. 

HUGHES,  EDWIN  (Aug.  15,  1884.  Wash- 
ington), after  study  with  local  teachers,  inl905- 
06  was  under  Joseffy  in  New  York  and  in  1907- 
10  with  Leschetizky  in  Vienna,  becoming  the 
latter's  assistant  in  1909.  In  1910-12  he  con- 
certized  in  America,  and  then  for  four  years  re- 
sided in  Munich,  appearing  with  much  success 
with  leading  orchestras  and  in  recital  in  the 
music-centers  of  Germany.  Returning  to 
America  in  1916,  he  settled  in  New  York,  and 
has  given  many  concerts  there  and  elsewhere. 
In  1918  he  succeeded  Friedberg  in  the  piano- 
faculty  of  the  Institute  of  Musical  Art.  He  is 
also  on  the  editorial  staff  of  Schirmer,  the  pub- 
lisher. He  has  composed  songs  and  a  concert- 
paraphrase  for  piano  of  the  'Wiener  Blut' 
Waltz  of  Johann  Strauss.  He  has  written 
many  articles  on  musical  subjects  for  American, 
English  and  German  publications.     [  R.9  ] 

HUGHES,  ROYAL  D.  See  Colleges,  3 
(Findlay  C.,  Ohio). 

HUGHES,  RUPERT  (Jan.  31,  1872,  Lan- 
caster, Mo.),  graduated  from  Adelbert  College 
in  Cleveland  in  1892,  and  had  some  lessons  in 
theory  from  W.  G.  Smith  and  from  Kelley,  as 
well  as  later  from  C.  W.  Pearce  in  London,  but 
is  largely  self-educated  in  music.  His  first 
published  songs  date  from  1892  —  'Tears,  Idle 
Tears'  and  'In  a  Gondola.'  In  1900  appeared 
'Midnight  in  Venice'  and  a  group  of  ten  on 
words  by  Riley.  One  of  the  most  ambitious  is 
'  Cain,'  a  dramatic  monologue  with  original 
words,  presenting  some  fruits  of  investigation 
in  the  realm  of  dissonances.  Many  songs  and 
piano-pieces  are  as  yet  unpublished.  His  lat- 
est composition  is  a  'Funeral  March  for  the 
American  Dead  in  France.'  Writing  about 
music  has  occupied  a  large  amount  of  his  time 
and  energy,  and  he  has  become  known  both 
for  his  acute  discrimination  and  his  picturesque 
style.  He  was  music-critic  for  the  New  York 
'Criterion'  in  1898-90,  and  since  then  has  been 


a  frequent  contributor  to  various  papers  and 
periodicals.  His  Contemporary  American  Com- 
posers, 1900  (enlarged  by  Arthur  Elson,  1915), 
was  a  pioneer  work,  based  on  the  study  of  large 
quantities  of  manuscripts  and  printed  music. 
His  Love-Affairs  of  Great  Musicians,  2  vols., 

1903,  was  also  a  work  of  painstaking  research. 
The  more  prosaic,  but  comprehensive  Musical 
Guide,  2  vols.,  1903,  was  later  recast  in  one 
volume  as  The  Music-Lover's  Cyclopedia,  1912. 
He  also  compiled  Songs  by  Thirty  Americans, 

1904,  made  up  of  original  contributions.  His 
novel  '  Zal,'  1905,  is  a  study  of  the  psychology 
of  the  concert-pianist.  He  has  been  also  an 
industrious  writer  of  stories  (from  1899)  and 
plays  (from  1902),  of  which  a  list  is  given  in 
Who's  Who  in  America,  besides  contributing 
to  magazines  and  cyclopedias.  He  began 
military  service  as  a  private  in  the  N.  Y.  N.  G. 
in  1897,  becoming  captain  in  1908,  and  in  1916 
was  on  active  duty  on  the  Mexican  border.  In 
1917  he  was  assistant  to  the  Adjutant-General 
in  New  York,  and  in  1918  was  commissioned 
major  in  the  United  States  Army.       (  R.8  ] 

HUGO,  JOHN  ADAM  (b.  1873).  See 
Register,  8. 

HULL,  ALEXANDER.  See  Colleqes,  3 
(Pacific  C,  Ore.). 

t  HULL,  ARTHUR  EAGLEFIELD  (1876, 
Market  Harborough,  England),  was  a  pupil 
of  J.  H.  Wood,  Matthay  and  C.  W.  Peayce  in 
London  and  holds  the  degree  of  Mus.D.  from 
Oxford  University.  He  is  organist  at  Hudders- 
field  Parish  Church,  principal  of  the  Hudders- 
field  College  of  Music  and  editor  of  'The 
Monthly  Musical  Record.'  He  has  composed 
the  oratorio  '  The  Resurrection-Morning ' ; 
the  cantata  '  Hail,  Festal  Day, '  op.  1 ;  a  para- 
phrase for  organ  on  melodies  by  Grieg,  op.  2 ; 
'Variations  Poetiques'  for  organ,  op.  3;  a 
toccatina  on  'Corde  Natus'  for  organ,  op.  5;  a 
fantasia  on  an  old  English  carol  and  'Prelude, 
Berceuse  and  Reverie,'  for  organ,  op.  6 ;  and 
'Russian  Country-Scenes'  for  piano,  op.  7. 
He  is  author  of  Organ-Playing,  its  Technique 
and  Expression,  1911,  Modern  Harmony,  1914, 
Harmony  for  Students,  1918,  volumes  on  Scri- 
abin.  Bach,  Cyril  Scott,  and  others,  a  Short 
History  of  Music,  and  Modern  Music-Styles, 
all  for  '  The  Music-Lover's  Library,'  of  which 
he  is  general  editor,  and  The  Sonata  in  Music. 
He  has  also  edited  and  annotated  the  complete 
organ-works  of  Bach  and  Mendelssohn  (Au- 
gener).  He  is  honorary  director  and  acting- 
secretary  of  the  British  Music  Society. 

HULSKAMP,  HENRY  [Gustav  Heinrich]. 
See  Register,  4. 

HUMISTON,  WILLIAM  HENRY  [family- 
name  originally  Humberstone]  (Apr.  27,  1869, 
Marietta,  O.),  graduated  from  the  Chicago 
High  School  in  1886  and  from  Lake  Forest 
College  in  1891.     Meanwhile  he  studied  piano 


248 


HUNEKER 


HUSS 


with  Mathews  and  organ  with  Eddy.  In  1889- 
91  and  1893-94  he  was  organist  at  Lake  Forest 
and  in  1891-93  in  Chicago.  From  1894  he 
continued  study  of  the  piano  with  W.  B.  Keeler 
in  New  York,  of  organ  with  Woodman  and  in 
1897-1900  of  composition  with  MacDowell, 
meanwhile  holding  positions  as  organist,  teach- 
ing composition  and  lecturing  on  Wagner  and 
MacDowell.  In  1902-12  he  was  conductor 
for  various  traveling  opera-companies.  Since 
1912  he  has  been  connected  with  the  New  York 
Philharmonic  Society  as  editor  of  the  program- 
notes  and  since  1916  as  assistant-conductor. 
In  1914  he  directed  at  the  MacDowell  Club 
probably  the  first  performance  in  America  of 
Mozart's  'Bastien  und  Bastienne' ;  in  1916  a 
program  on  'the  lighter  side  of  Bach,'  which 
included  the  'Peasant  Cantata'  with  scenery 
and  costume;  and  in  1918  a  Bach  program 
with  orchestra  which  included  the  triple  con- 
certo in  D  minor  and  many  solos  from  can- 
tatas. He  has  specialized  in  the  music  of  Bach, 
Wagner  and  MacDowell  and  has  a  notable 
library  of  their  works.  Of  his  own  works  he 
has  conducted  the  Suite  in  F-sharp  minor  (1911), 
the  'Southern  Fantasie'  (1913),  and  'Iphigenia' 
(1913,  People's  Choral  Union,  Boston  Sym- 
phony Orchestra).  The  Suite  is  published  in 
an  arrangement  for  violin  and  piano,  and  some 
of  his  songs  are  in  print.     [  R.7  ] 

HUNEKER,  JAMES  GIBBONS  (Jan.  31, 
1860,  Philadelphia),  had  his  training  as  pianist 
under  Cross  in  Philadelphia,  Mathias  in  Paris 
and  Joseffy  in  New  York,  becoming  in  1881-91 
the  latter's  assistant  at  the  National  Conserva- 
tory. In  1891-95  he  was  critic  for  the  New 
York  'Recorder,'  in  1895-97  for  the  'Adver- 
tiser,' in  1900-12  for  the  'Sun,'  in  1917  con- 
tributor to  the  Philadelphia  'Press'  and  since 
1918  to  the  New  York  'Times.'  He  has  been 
a  prolific  author,  the  list  including  Mezzotints 
in  Modern  Music,  1899,  Chopin,  the  Alan  and  his 
Music,  1900,  Melomaniacs,  1902,  Overtones  — 
Music  and  Literature,  1904,  Iconoclasts,  a  Booh 
of  Dramatists,  1905,  Visionaries,  1905,  Egoists, 
a  Book  of  Supermen,  1909,  Promenades  of  an  Im- 
pressionist, 1910,  Franz  Liszt,  1911,  The  Pathos 
of  Distance,  1912,  Old  Fogij,  1913,  New  Cos- 
mopolis,  1915,  Ivory  Apes  and  Peacocks,  1915, 
Unicorns,  1917,  and  Bedouins,  1920.  These 
have  given  him  a  high  place  among  American 
essayists,  arid  several  of  them  have  been  trans- 
lated into  other  languages.  His  extraordinary 
range  of  knowledge  in  music,  literature  and  art, 
combined  with  his  brilliant  and  witty  style, 
holds  the  interest,  however  one  may  feel  about 
his  judgments.     [  R.7  ] 

'HUNOLD  DER  SPIELMANN.'  An  op- 
era by  Hermann  Genss,  produced  in  San  Fran- 
cisco in  1914. 

HUNTINGTON,  JONATHAN  (1771-1838) . 
See  Tune-Books,  1807. 


HUPFELD ,  CHARLES  P.     See  Register,  3. 

%  HURLSTONE  .WILLIAM  YEATES  (Jan. 
7,  1876,  London  :  May  30,  1906,  London). 
See  article  in  "Vol.  ii.  447.  Publication  of  his 
music  has  continued,  and  the  following  com- 
positions may  be  added :  Quartet  in  E  minor, 
for  piano  and  strings ;  piano-trio  in  G  ;  sonata 
in  F,  for  violin  and  piano;  four  'English 
Sketches,'  for  violin  and  piano ;  sonatas  in  F 
and  D,  for  'cello  and  piano;  four  'Character- 
istic Pieces,'  for  viola  or  clarinet  and  piano ; 
Capriccio  in  B  minor,  for  piano ;  five  '  Minia- 
tures,' for  piano  ;  the  ballad  'Alfred  the  Great,' 
for  chorus  and  orchestra  ;  and  many  songs. 

HUTCHINGS,  GEORGE  S.  (1835-1913). 
See  Register,  5. 

HUSBAND,  JOHN  (17537-1809?).  See 
Tune-Books,  1807. 

HUSS,  GEORGE  JOHN  (1828-1904).  See 
Register,  4. 

HUSS,  HENRY  HOLDEN  (June  21,  1862, 
Newark,  N.  J.),  through  his  father  is  descended 
from  the  brother  of  the  Bohemian  patriot  and 
martyr,  John  Huss.  His  first  study  was  under 
his  father,  later  continued  with  Boise  and  for 
three  years  with  Rheinberger  and  Giehrl  at  the 
Munich  Conservatory,  where  he  graduated  in 
1885.  At  his  graduation  he  played  his  Rhap- 
sody for  piano  and  orchestra  —  later  also  played 
with  the  Boston  Symphony  Orchestra  in  1887 
and  in  New  York  with  Van  der  Stucken.  His 
piano-concerto  in  B  he  has  played  with  the 
Boston  Sjonphony,  New  York  Philharmonic, 
Pittsburgh,  Cincinnati  and  St.  Paul  Orchestras- 
He  has  also  given  his  violin-sonata  with  Hart- 
mann,  Kneisel,  Spiering,  Lichtenberg  and 
others,  and  his  'cello-sonata  with  Schroeder, 
Hambourg,  May  Mukle  and  others.  The  Kneisel 
Quartet  introduced  his  string-quartet,  and  an 
early  piano-trio  was  given  by  the  composer, 
Kneisel  and  Hekking  in  Boston.  In  1904  he 
married  Hildegard  Hoffmann,  the  concert-so- 
prano, and  they  have  given  many  joint  recitals 
in  the  United  States  and  in  Europe.  His 
compositions  include  the  following 

'  Wald-Idylle,'    op.    2,    for   small   orchestra    (1884, 

Munich) . 
'Rhapsodie,'  op.  3,  for  piano  and  orchestra  (1886, 

Boston,  1887,  New  York). 
Concerto   in   B,   op.    10,   for  piano   and  orchestra 

(Schirmer). 
Concerto  in  C  minor,  op.   12,   for  violin  and  or- 
chestra, dedicated  to  Maud  Powell. 
Trio  in  D  minor,  op.  8,  for  piano,  violin  and  'cello 

(Larghetto  published  for  piano  and  reed-organ). 
Romanza   and   Polonaise,   op.    11,    for   violin  and 

orchestra. 
Sonata  in  G  minor,  op.   19,  for  violin  and  piano, 

dedicated  to  Kneisel    (Schirmer,   2d  movement 

also  as   'A   Northern   Melody'). 
Sonata,  op.  24,  for  'cello  and  piano,  dedicated  to 

Schroeder. 
Quartet  in  G  minor,  op.  26,  for  strings. 
Quartet  in  E  minor,  for  strings,  written  at  Ysaye'a 

request  and  dedicated  to  him. 


HUTCHESON 


HYMN-BOOKS 


249 


'B»rceu8e  Slave,'  for  violin  and  piano,  dedicated 

to  Zimbalist  (Ditson). 
Romanza  in  E,  for  violin  (or  'cello),  dedicated  to 

Maud  Powell  (Schirmer). 
Ballade  in  F,  op.  1,  for  piano  (Schirmer). 
Three  Pieces,  op.  5,  for  piano  (Schmidt). 
'Prelude  Appassionata,'  and  'The  Rivulet'  (6tude), 

op.  7,  for  piano  (Schmidt). 
'Summer  Sketch-Book,'  op.  13,  six  pieces  for  piano 

(Schirmer). 
•Quatre  Preludes  en  forme  d'^tudes,'  op.   17,  for 

piano  (Schirmer). 
'Menuet  et  Gavotte  Capricieuse,'  op.  13,  for  piano 

(Schirmer). 
Valse,  Nocturne  and  Gavotte,  op.  20,  for  piano 

(Schirmer). 
'La  Nuit,'  op.  21,  for  piano  (Schirmer). 
Six  Pieces,  op.  23,  for  piano  (Schirmer). 
'Pastorale,'  'Album-Leaf  and  'Etude  M61odique,' 

for  piano  (Schmidt). 
'Menuet  Mignonne,'  op.  27,  for  piano. 
'Valse    Intime,'    for    piano,    dedicated    to    Bauer 

(Ditson). 
Three   Bagatelles,   op.    30,    and   Three   Pieces   for 

Children,  for  piano  (Art  Publication  Soc.y. 
'Ave    Maria,'    op.    4,    for    soli,    women's    chorus, 

strings,    organ    and    harp     (1888,    New    York) 

(Novello). 
Festival  Sanctus,  op.  9,  for  chorus,  orchestra  and 

organ  (Schuberth). 
'Adeste  Fideles,'  op.  14,  and  'Pater  Noster,'  op. 

15,  for  six-part  chorus  a  cappclla  (Schirmer). 
Nocturne,   'How  sweet  the  moonlight  sleeps,'  op. 

27,  for  soprano,  women's  chorus  and  orchestra. 
'The  Recessional,'   for  chorus  and  piano   (Silver, 

Burdett  &  Co.). 
'O  Captain,  my  Captain,'  for  men's  chorus,  piano 

and  organ  (Schirmer). 
'The  Fool's  Prayer,'  for  men's  chorus  and  piano 

(Schirmer). 
'The  Flag,'  for  men's  chorus  and  piano  (Schirmer). 
'Mankind's    Own   Song,'    for   three-part    women's 

chorus  and  piano  (Schirmer). 
'The  Seven  Ages  of  Man,'  op.  16,  for  baritone  and 

orchestra. 
About  30  songs  (many  published  by  Schirmer  or 

Schmidt).  [  R.7  ] 

HUTCHESON,  ERNEST  (July  20,  1871, 
Melbourne,  Australia),  when  between  five  and 
seven,  trained  by  Vogrich  and  Torrance,  toured 
Australia  as  a  child-pianist.  At  fourteen  he 
went  to  Leipzig  to  study  piano  under  Reinecke 
and  Zwintscher  and  composition  under  Jadas- 
sohn. At  nineteen  he  made  a  second  tour  in 
Australia.  He  then  continued  study  under 
Stavcnhagen  at  Weimar,  where  he  was  keeping 
alive  the  Liszt  traditions.  From  1898  he  was 
highly  successful  in  Berlin  as  pianist,  conductor 
and  composer.  In  1900  he  became  chief  piano- 
teacher  at  the  Peabody  Conservatory  in  Balti- 
more, but  resigned  in  1912  to  have  time  for 
more  concert-work.  After  two  years  in  Europe, 
principally  Germany,  in  1914  he  settled  in  New 
York.  In  1911  he  succeeded  Sherwood  as  head 
of  the  piano-department  of  the  Chautauqua 
Institution.  The  best-known  of  his  many 
prominent  piano-pupils  is  Olga  Samaroff  (Mrs. 
Stokowski).  He  has  composed  a  symphonic 
poem,  an  orchestral  suite,  a  piano-concerto,  a 
concerto  for  two  pianos  and  a  violin-concerto. 


Some  piano-pieces  have  been  published.  He 
has  also  written  the  excellent  text-book.  The 
Elements  of  Piano-Technique,  a  guide  to  Strauss' 
'Elektra,' and  many  musical  articles.  [  R.9  ] 
HYDE,  ARTHUR  SEWALL  (1875-1920). 
See  Register,  8. 

HYLLESTED,  AUGUST  (June  17,  1858, 
Stockliolm,  Sweden),  played  in  public  when  but 
eight,  for  three  years  was  trained  by  Holger 
Dahl  and  then  went  to  the  Copenhagen  Con- 
servatory to  study  piano  with  Neupert,  com- 
position and  orchestration  with  Gade,  counter- 
point with  Hartmann,  violin  with  Tofte  and 
organ  with  Attrup.  He  made  his  second  tour 
of  Scandinavia  in  1875,  and  became  conductor 
and  organist  at  the  Cathedral  in  Copenhagen. 
In  1879  he  worked  with  Kullak  and  Kiel  at 
Berlin  and  in  1880  won  approval  from  Liszt. 
In  1883-84  he  toured  in  Great  Britain  and  in 
1885  made  his  debut  in  New  York,  followed  by 
concerts  in  the  United  States  and  Canada. 
In  1886-91  he  was  assistant-director  of  the 
Chicago  Musical  College  and  in  1891-94  head 
of  the  piano-department  in  the  Gottschalk 
Lyric  School.  After  three  years  of  concertizing 
in  England,  France,  Germany  and  Scandinavia 
he  returned  to  Chicago  as  player  and  teacher. 
He  has  received  distinguished  honors  from 
more  than  one  European  court.  His  published 
works  include  'Elizabeth,'  a  symphonic  poem 
with  double  chorus  (produced  under  his  direc- 
tion in  1897,  London) ;  incidental  music  to  '  Die 
Rheinnixe';  a  'Marche  Triomphale'  for  or- 
chestra; 'Scandinavian  Dances,'  fantasias, 
two  suites  and  smaller  pieces  for  piano.  In 
manuscript  are  two  piano-trios,  a  piano-sonata, 
'Variations  Serieuses,'  a  suite  for  piano  and 
songs.     [  R.7  ] 

HYMN-BOOKS  WITH  TUNES.  Except 
for  a  limited  number  of  Psalters  in  the  17th 
century,  American  churches  did  not  have  ser- 
vice-books for  congregational  song  that  con- 
tained both  words  and  music  in  conjunction 
until  about  1850.  During  what  may  be  called 
the  first  period  of  development  of  hymn-singing 
(1720-1820)  such  tunes  as  were  imported, 
adapted  or  composed  were  accumulated  in 
separate  Tune-Books  (see  article),  which,  be- 
sides supplying  material  for  the  'singing- 
schools,'  tended  more  and  more  to  build  up 
choir-singing  rather  than  to  be  used  by  con- 
gregations as  such.  In  the  early  decades  of 
the  19th  century,  however,  when  two  or  three 
types  of  religious  assembly  that  were  novel  be- 
came common,  a  demand  arose  for  books  with 
words  and  music  printed  together.  At  first 
books  of  this  kind  were  not  meant  for  the  more 
formal  services,  but  for  Sunday-schools,  in- 
formal 'social'  meetings  and  evangelistic  gather- 
ings. Thus  was  started  a  movement  of  publi- 
cation that  soon  attained  large  dimensions. 
During   the  century  since   1820  hundreds  of 


250 


HYMN-BOOKS 


HYMN-BOOKS 


small  books  have  been  put  forth,  representing 
various  grades  of  ability,  taste  and  sincerity. 
Taken  together,  these  lesser  books  have  con- 
tained a  huge  amount  of  original  music,  but 
usually  of  so  trivial  and  ephemeral  a  character 
that  no  summary  of  them  is  here  attempted. 

But  meanwhile,  from  the  appearance  in  1831 
of  Leavitt's  'Christian  Lyre'  and  Hastings 
and  Mason's  'Spiritual  Songs'  (its  immediate 
rival),  the  new  movement  pointed  toward  a 
type  of  service-book  for  dignified  church  use, 
and  such  books  began  to  be  made  after  about 
1850.  The  music  was  taken  from  existing 
tune-books  or  followed  in  their  style.  The 
bulk  of  it  was  American  in  origin.  After  1860, 
however,  the  usage  of  Episcopal  churches  began 
to  be  affected  by  the  transition  in  England  that 
was  embodied  in  'Hymns  Ancient  and  Modern' 
(1861  and  later).  This  epoch-making  book 
was  at  once  imported,  reprinted  (from  1866), 
adopted  by  many  Episcopal  churches,  and 
increasingly  considered  by  editors  of  other  de- 
nominations. The  influence  of  the  several 
types  of  tune  in  Anglican  usage,  combined 
probably  with  other  tendencies  in  American 
music,  produced  a  progressive  alteration  of 
standard  in  the  demands  of  congregations  and 
the  practice  of  editors.  Especially  after  1880, 
the  larger  church  hymnals,  whether  issued  by 
denominational  authority  or  by  independent 
editors  and  publishers,  have  generally  sought 
to  combine  tunes  of  many  styles  —  the  old 
American  type,  the  juvenile  or  evangelistic 
type,  the  chorale-types  of  England  and  Ger- 
many, the  English  part-song  type,  etc.  —  and 
often  also  to  stimulate  fresh  composition.  The 
proportion  of  these  elements  varies  greatly, 
and  the  scholarship  and  judgment  of  individual 
editors  also  vary.  But,  on  the  whole,  there 
has  been  notable  advance.' 

On  the  whole,  then,  the  series  of  books  that 
has  been  compiled  from  various  sources  offejs 
curious  and  interesting  evidence  of  the  growth 
of  one  side  of  popular  musical  culture  —  a  side 
which  undoubtedly  affects  the  appreciation  of 
a  vast  number  of  users  and  which  has  attracted 
effort  in  original  composition  that  is  by  no 
means  insignificant.  The  list  is  doubtless  far 
from  complete,  but  it  is  sufficient  to  indicate 
the  extent  of  the  literature.  The  editor's 
name  is  added  in  most  cases,  and  an  abbrevia- 
tion that  indicates  the  denomination  for  which 
the  book  is  intended. 

1831     Christian  Lyre,  Leavitt Pres.  Cong. 

Spiritual  Songs,  Hastings,  Mason    Pres.  Cong. 

1839     Hymns  of  Zion,  Thomas Univ. 

1850     Christian  Psalmist 

1  Copyright  considerations  have  played  no  small 
part  in  the  process.  In  many  books  commercial 
reasons  have  kept  down  the  number  of  tunes  protected 
by  American  copyright  and  increased  that  of  tunes 
taken  from  English  sources.  Often  what  was  artisti- 
cally better  was  at  the  same  time  cheaper. 


1851 


1854 
1855 
1857 
1858 

1859 


1861 
1862 


1863 
1864 


1865 
1866 


1868 

1869 
1870 

1871 

1872 


1873 

1874 


1874 
1875 


Christian  Melodies,  Cheever,  Sweetzer 

(numeral  notation) Cong. 

Temple  Melodies,  Jones Cong. 

Congregational  Church  Music,  Bacon ....  Cong. 

Plymouth  Collection,  Beecher Cong. 

Hymns  for  the  Use  of  the  M.  E.  Church .  .  Meth. 

Church  Melodies,  Hastings Pres. 

Songs  of  the  Church,  Davies Epis. 

Baptist  Chorals,  Manly,  Everett Bapt. 

Choralist,  Day,  Tappan,  Curtis,  Cheney 

Free-W.  Bapt. 

Collection  of  Sacred  Song,  Hopkins Epis. 

Evangelical  Psalmist,  Seiss,  McCron, 

Passavant Luth. 

New  Congregational  Hymn  <fc  Tune  Book, 

Nason Cong. 

Pastor's  Selection,  Burt Pres. 

Puritan  Hymn  &   Tune  Book Cong. 

Sabbath  Hymn  &  Tune  Book,  Park, 

Phelps,  Mason Cong. 

American  Hymn  &   Tune  Book, 

Stevens,  McDonald 
Book  of  Hymns  &  Tunes,  Longfellow.  .  .  .Unit. 

Church  Choral-Book,  Baker,  Tufts Cong. 

Psalmist,  Edmands Bapt. 

Psalms  of  David,  Jones  (tunes  apart) 
Wesleyan  Hymn  <&  Tune  Book,  Everett 

Meth.  So. 

Gospel  Psalmist,  Adams Univ. 

So?igs  for  Social  &  Public  Worship,  Mason 

Cong. 

Songs  of  the  Church,  Robinson Pres. 

Psalms  of  David,  Keys Pres. 

Church  Pastorals,  Adams Cong. 

Devotional  Hymn  &  Tune  Book, 

Rowland,  Bradbury Bapt. 

Songs  for  the  Sanctuary,  Robinson,  Pres.  Cong. 

Book  of  Worship,  Bacon Pres. 

Collection  of  Hymns Meth.  So. 

Common  Praise,  Waterbury Epis. 

New  Hymn  &  Tune  Book,  Phillips Meth. 

Presbyterian  Hymnal O.  S.  Pres. 

Christian  Hymnal,  Sewall Swedbg. 

Church  Hymn  Book,  Salter  (tunes  apart)    Cong. 

Jubilee  Harp Advt. 

Book  of  Praise Cong. 

Hymn  &  Tune  Book,  Livermore Unit. 

Book  of  Common  Praise,  Hodges Epis. 

Spiritual  Harp Spirit. 

Vestry  Harmonies,  Adams Univ. 

Hymns  of  the  Church,  Thompson, 

Vermilye,  Thompson Ref .  Dutch 

Hymns  of  the  New  Life Pres.  Cong. 

Christian  Hymn  &  Tune  Book,  Hayden 

Christian  Praise Ref.  Dutch 

Hymnal,  Hutchins Epis. 

Parish  Hymnal,  Tucker Epis. 

Baptist  Praise  Book,  Holbrook Bapt. 

Christian  Hymnal Disciples 

Collection  of  Hymns,  Shuey,  etc..  .Unit.  Breth. 

Tribute  of  Praise,  Tourj^e Cong. 

Brethren's  Hymn  &  Tune  Book Dunkers 

Church  Hymn  Book,  Hatfield Prea. 

Hymnal,  Goodrich,  Gilbert Epis. 

Hymjial,  Tucker Epis. 

Hymns  of  the  Morning,  Barker Advt. 

Sacrifice  of  Praise,  Murray,  Gilman Pres. 

Church  Book,  Schmucker,  Bird Luth. 

Baptist  Hymn  &  Tune  Book,  Evans Bapt. 

Church  Harmonies,  Bolles,  Washburn.  .  .  .Univ. 
Hymns  d:  Songs  of  Praise,  Hitchcock, 

Eddy,  Schaff Pres. 

Hymns  for  the  Sanctuary Unit.  Breth. 

Presbyterian  Hymnal,  Duryea Pres. 

Hymns  for  Christian  Devotion Univ^ 


HYMN-BOOKS 


HYMN-BOOKS 


251 


1875  Psalms  &  Hymns  tfc  Spiritual  Songs, 

Robinson Pres. 

Service  of  Praise Cong. 

1876  Bible  Songs Cumb.  Pres. 

Book  of  Worship  (chants,  not  tunes) .  .Swedbg. 

Christian  Hymn  Book Christ. 

Hymns  A  Tunes 7th-D.  Advt. 

1877  Christian  Hymnal,  Burton,  Parker, 

Twichell Cong. 

Hymn  &  Tune  Book Unit. 

1878  Methodist  Hymnal Meth. 

Reform.ed  Church  Hymnal Ger.  Ref. 

Selection  of  Spiritual  Songs,  Robinson 

Pres.  Cong. 

1880  Book  of  Worship Luth. 

Christian  Praise,  Thompson Ref.  Dutch. 

Evangelical  Hymnal,  Hall,  Lasar Pres. 

Manual  of  Praise,  Mead,  Rice Cong. 

Songs  for  the  Lord's  House,  Bridgman .  .  Bapt. 
Songs  of  Christian  Praise,  Richards.  . .  .Cong. 
Worship  in  Song,  Holbrook 

1881  Choice  Collection  of  Spiritual  Hymns, 

Mennonite 

Church  Praise  Book,  Stryker,  Main Pres. 

Hymns  of  the  Advent Adv. 

1882  Evangelical  Hymn  &  Tune  Book.  .  .Ev.  Assoc. 
New  Christian  Hymn  <jt  Tune  Book, 

Fillmore Disciples 

New  Hymn  Book Meth.  So. 

1883  Baptist  Hymnal,  Johnson,  Doane Bapt. 

Church  Book,  Bacon Cong. 

Sacred  Songs  for  Public  Worship, 

Savage,  Dow Unit. 

Duplex  Hymn  &  Tune  Book,  Shotwell .  .  .  .Pres. 
Wesleyan  Hymnal Wesl.  Meth. 

1884  Baptist  Hymn  Book,  Thompson .  .  .  .Prim.  Bapt. 

Brethren  Hymnody Dunkers 

English  dk  Latin  Hymns  (later.  Catholic 

Hymnal) R.  C. 

Laudes  Domini,  Robinson Pres.  Cong. 

1885  Carmina  Sanctorum,  Hitchcock,  Eddy, 

Mudge Pres. 

1886  Book  of  Common  Praise,  Moore, 

Gilchrist Ref.  Epis. 

Hymn  &  Tune  Book,  Durand,  Lester 

Prim.  Bapt. 

Hymnal  Companion Ref.  Epis. 

Songs  of  Pilgrimage,  Hastings 

1887  Christian  Hymnal,  Wilson 7th-D.  Advt. 

Church  of  God  Selection 

Hymns  of  the  Faith,  Harris,  Tucker, 

Glezen Cong. 

New  Hymn  &  Tune  Book  .  .  .  .Ah.  Meth.  Zion 

Psalter,  with  Music Unit.  Pres. 

Seventh-Day  Adventist  Hymn  tfc 

Tune  Book 7th-D.  Advt. 

1888  Hymns  for  the  Sanctuary Unit.  Breth. 

1889  Church  Song,  Stryker Pres. 


1889 
1890 


1891 
1892 

1893 

1894 
1895 

1897 
1898 


1899 
1901 


1903 
1904 
1905 

1906 


1912 


1913 

1914 
1915 
1918 


Evangelical  Lutheran  Hymn  Book Luth. 

Hymn  &  Tune  Book Meth.  So. 

Church  Hymnary,  Bedell Ref.  Dutch. 

Hymnal  —  Amore  Dei,  Williams Unit. 

Hymnal Ger.  Ref. 

Hymns  &  Tunes Mennonite 

Hymns  of  the  Church  Universal,  Foote .  .  .  Unit. 

Otterbein  Hymnal,  Lorenz Unit.  Breth. 

Primitive  Hymns,  Spiritual  Songs 

&  Sacred  Poems,  Lloyd Prim.  Bapt. 

Hymns  of  the  Ages,  Kerr So.  Pres. 

Christian  Science  Hymnal Chr.  Sci. 

New  Laudes  Domini,  Robinson ....  Pres.  Cong. 

Church  Book,  Krauth Luth. 

Hymnal,  Messiter Epia. 

Hymnal Afr.  Meth. 

Magnificat Swedbg. 

Plymouth  Hymnal,  Abbott Cong. 

Hymnal,  Hutchins Epia. 

Hymnal,  Tucker,  Rousseau Epis. 

Church  Harmonies,  Tenney,  Lewis Univ. 

Hymnal,  Benson Prea. 

Sacred  Hymns  A  Tunes Wesl.  Meth. 

Hymnal,  Darlington Epis. 

In  Excelsis Pres.  Cong. 

African  M.  E.  Hymnal Afr.  Meth. 

Sursum  Corda,  Johnson,  Ayres Bapt. 

(contains  nearly  1350  tunes) 

Hymnal Luth. 

Brethren  Hymnal Dunkera 

Gloria  Deo 

Methodist  Prot.  Church  Hymnal  .  .  Meth.  Prot. 

New  Manual  of  Praise,  Rice,  Wright, 

Dickinson Cong. 

New  Psalms  &  Hyjnns So.  Pres. 

Hymnal,  Parker Epia. 

Pilgrim  Hymnal,  Noyes,  Ziegler Cong. 

Hymns  of  Worship  &  Service Pres.  Cong. 

Methodist  Hymnal Meth. 

Church  Hymns  dt  Tunes,  Turner,  Biddle 

Pres.  Cong. 

Friends'  Hymnal Quaker 

Free  Methodist  (Wesleyan  Methodist) 

Hymnal Free  Meth.,  Wesl.  Meth. 

Hymns  of  the  Kingdom  of  God,  Coffin, 

Vernon Pres.  Cong. 

Hymns  of  the  Living  Church,  Ives,  Wood- 
man   Pres.  Cong. 

Hymns  of  the  Centuries,  Shepard 

Hymnal,  Benson Pres. 

Hymns  of  the  Church,  Davis,  Calkins.  .  .  .Cong. 

Riverdale  Hymn  Book,  Dood,  Longacre 

Songs  of  the  Christian  Life,  Richards .  .  .  .Cong. 

American  Hymnal,  Dawson Prea.  Cong. 

Hymnal  of  Praise,  Eaton,  Sallmon Cong. 

New  Hymn  &  Tune  Book Unit. 

Church  Hymnal Prea.  Cong. 

Hymnal , Epis. 


IDE,  CHESTER  EDWARD  (June  13,  1878, 
Springfield,  111.)-  after  having  been  a  pupil  of 
Prout,  Corder  and  Davenport  at  the  Royal 
Academy  of  Music  in  London,  taught  piano 
and  harmony  in  Springfield  till  1916.  He 
has  since  taught  harmony  at  the  Music  School 
Settlement  in  New  York  and  piano  privately. 
He  has  composed  the  orchestral  suite  'Idyllic 
Dances';  the  symphonic  poem  'Pan's  Dream 
of  Syrinx ' ;  an  orchestral  suite  in  f oiu-  move- 
ments —  'Thoughts  of  Winter,'  'Frolic,'  'Fire- 
side-Dreams,' 'J^^olus';  songs  with  orchestra, 
'  Queen  of  Bubbles '  and  '  Autumn  Songs '  (texts 
by  the  composer) ;  incidental  music  for  Mac- 
kaye's  masque  'Caliban';  songs  and  piano- 
pieces.  He  has  also  edited  a  collection  of  50 
folk-songs  for  primary  study  (1917,  Schirmer). 
I  R.9  ] 

INDIAN  MUSIC.  Within  the  past  half- 
century  there  has  been  a  significant  and  grow- 
ing interest  in  the  music  of  the  North  American 
Indians.  The  motive  behind  this  developing 
attention  has  been  partly  ethnological  and 
partly  artistic,  and  in  the  case  of  many  inves- 
tiga;tors  the  two  purposes  have  been  happily 
blended.  The  one  aim  is  to  collect,  analyze 
and  codify  the  facts  as  part  of  the  total  body 
of  knowledge  regarding  a  vanishing  race,  so  as 
to  facilitate  the  comparison  of  them  with  similar 
facts  in  other  fields.  The  other  aim  is  to  pene- 
trate into  sympathy  with  the  instinct  and  im- 
pulse behind  the  facts,  to  interpret  the  artistic 
spirit  which  they  embody,  to  set  forth  actual 
songs,  themes  or  figiures  for  general  apprecia- 
tion or  for  use  in  new  production,  or  so  to  ab- 
sorb the  essence  of  the  style  as  to  incorporate 
its  st)irit  in  characteristic  composition  without 
direct  imitation.  What  has  been  accomplished 
by  critical  research  would  have  been  of  slight 
general  value  if  it  had  not  been  for  the  zeal 
and  sympathy  of  the  searchers  after  meaning 
and  beauty.  These  latter  have  lifted  the  whole 
subject  into  distinction. 

Though  it  is  popularly  customary  to  class 
all  the  aborigines  of  North  America  under  one 
name,  they  were  far  from  being  a  unified  race. 
Not  less  than  sixty  distinct  tribes  are  counted, 
or  even  more,  differing  in  language  and  customs 
and  so  widely  separated  that  between  them  was 
no  interchange.  There  is  therefore  no  such 
thing  as  a  general  type  or  system  of  Indian 
music,  except  as  all  examples  are  alike  primi- 
tive or  unsophisticated,  with  an  essential  amal- 
gamation of  verse  and  song  and  a  minimum 
use  of  instruments  save  in  conjunction  with 
vocal  delivery.  It  is  all  folk-music  of  the  most 
typical  kind,  shaped  by  a  diffused  tribal  use 
and  preserved  by  oral  tradition  as  a  precious 


tribal  possession.  As  in  many  other  casea, 
song  is  intimately  interwoven  with  dancing, 
pantomime  and  other  dramatic  expression  and 
all  these  artistic  efforts  often  have  a  profound 
religious  aspect. 

There  is  dispute  as  to  the  scale-forms  used, 
especially  as  there  is  so  much  variety  in  the 
phenomena.  It  is  likely  that  the  subconscious 
basis  is  usually  pentatonic  or  hexatonic  —  as 
among  other  primitive  peoples  —  but  the  prac- 
tical treatment  of  melody  is  sometimes  so 
overladen  with  cm-ious  intonations  or  shadings 
as  to  suggest  to  some  a  complicated  scheme  of 
quarter-tones,  quite  alien  to  traditional  Eu- 
ropean music.  Occasionally,  however,  melo- 
dies conform  closely  to  lines  that  seem  to  us 
normal.  Tonality  seems  to  exist,  though  not 
that  belonging  ^ath  a  developed  harmonic  sys- 
tem, but  rather  such  as  underlies  ancient  and 
mediaeval  schemes.  Scales  are  probably  con- 
ceived downward  rather  than  upward. 

There  is  an  abundance  of  downright  rhythm, 
but  it  often  shifts  from  one  type  to  another 
with  amazing  readiness,  and,  especially  when 
drumming  and  singing  are  combined,  often 
presents  startling  contradictions  between  voice 
and  instrument.  While  the  result  seems 
chaotic  to  the  cultivated  hearer,  it  is  usually 
held  to  with  great  persistence  and  repeated 
with  fidelity,  implying  much  positiveness  of 
rhythmic  conviction. 

There  is  little  trace  of  harmony.  As  a  rule, 
songs  are  strictly  in  unison.  The  only  instru- 
ment of  importance  is  the  drum  —  variously 
made  —  which  is  used  without  regard  to  its 
pitch-relation  with  the  voices. 

Although  some  scattered  notes  had  been 
made  previously,  the  first  serious  researches 
were  in  1880  by  Theodore  Baker  of  New  York, 
then  studying  at  Leipzig  University,  in  his 
thesis  for  a  Ph.D.'  These  were  made  on  the 
Seneca  Reservation  in  western  New  York,  with 
added  points  derived  from  western  students 
at  the  Indian  School  at  Carlisle,  Pa.  Next 
came  Alice  C.  Fletcher's  studies,  first  among 
the  Omahas,  and  later  among  the  Pawnees  and 
other  tribes  of  the  plains  west  of  the  Mississippi.^ 
To  these  followed  investigations  by  Frederick 
R.  Burton  among  the  Ojibways  in  Ontario  near 
Lake  Huron, ^  and  the  extensive  collection  of 
material  under  the  Hemenway  Southwestern 

1  Ueher  die  Musik  der  nordamerikaniachen  Wilden, 
1882. 

'A  Study  of  Omaha  Indian  Music,  1893,  and  In- 
dian Story  and  Song  from  North  America,  1900,  with 
many  articles  besides. 

'  Songs  of  the  Ojibway  Indians,  1903,  later  embodied 
in  the  posthumous  volume  American  Primitive  Music, 
1909. 


252 


INDIAN  MUSIC 


INDY 


253 


Expedition,  which  was  worked  up  particularly 
by  Natalie  Curtis, ^  and  by  Benjamin  Ives  Oil- 
man, the  latter  of  whom  had  first  entered  the 
field  earlier.2  These  deal  with  the  pueblo 
tribes  of  the  southern  Rocky  Mountains. 
From  time  to  time  the  literature  has  been  aug- 
mented by  monographs  published  by  the  Bu- 
reau of  Ethnology,  the  United  States  Museum, 
the  Carnegie  Institution,  etc.,  and  by  articles 
in  magazines  by  detached  observers.  It  is  to 
be  hoped  that  undeveloped  sides  of  the  subject 
will  be  further  investigated  and  that  the  total 
data  may  be  better  correlated  than  has  thus 
far  been  possible.  It  is  unfortunate  that  scien- 
tific study  did  not  begin  earlier,  when  more 
tribes  than  now  were  still  in  existence  and  when 
their  life  was  even  more  free  and  untouched. 

In  its  artistic  aspect  what  has  been  collected 
of  Indian  music  is  sufficient  to  arouse  no  little 
wonder  and  often  positive  admiration.  It  is 
true  that  the  average  listener  finds  its  effects 
abnormal,  so  that  he  is  often  baffled  in  noting 
them  down  or  reducing  them  to  habitual  forms 
of  analysis.  They  are  to  him  decidedly  alien 
or  'barbarous.'  Yet  the  best  observers  agree 
that  the  Indian  himself  finds  in  his  singing  a 
very  real  self-expression,  affording  outlet  for  im- 
agination and  emotion  otherwise  unembodied, 
60  that  song  is  his  one  particular  fine  art,  ab- 
sorbing the  deepest  interest  of  both  performer 
and  listener  and  often  standing  out  as  the  cli- 
macteric embodiment  of  his  social  and  tribal 
life.  To  one  who  appreciates  this  and  becomes 
wonted  to  the  unfamiliar  idioms,  many  Indian 
melodies  come  to  have  a  beauty  of  a  singularly 
affecting  kind.  This  beauty  is  of  course  en- 
hanced by  associations  of  thought  arising  from 
the  topics  of  the  songs,  their  actual  texts  and 
their  habitual  usage,  and  from  whatever  ro- 
mance has  collected  about  the  history  of  this 
dignified  and  freedom-loving  race.  The  imagi- 
nation is  also  stirred  by  whatever  can  be  under- 
stood of  the  dramatic,  ceremonial  and  religious 
implications  connected  with  verse  and  melody. 

Without  attempting  an  exhaustive  catalogue, 
it  may  be  well  to  make  reference  to  some  com- 
posers and  works  that  illustrate  how  the  im- 
press of  Indian  themes,  topics  and  sentiments 
has  affected  musical  creation.  Among  these 
are  Henry  Schoenefeld's  '  Suite  Caract6ristique,' 
op.  15,  'Indian  Legends,'  pantomime-ballet 
'Machicanta'  and  an  opera;  Edward  Mac- 
Dowell's  'Indian'  Suite,  op.  48  (1896);  Fred- 
erick R.  Burton's  cantata  'Hiawatha'  (1898) ; 
Carl  Busch's  symphonic  poem  'Minnehaha's 
Vision,'  cantata  'The  Four  Winds,'  'Indian 
Legend'  for  violin,  many  songs,  etc.;  Ernest 
R.  Kroeger's  overtures  'Hiawatha'  and  '  Atala,' 
besides  several  piano-pieces ;  Henry  F.  Gilbert's 

^  Songs  of  Ancient  America,  1905,  and  The  Indian's 
Book,  1907. 

2  Zuni  Melodies,  1891,  and  Hopi  Melodies,  1908. 


'Indian  Sketches'  for  piano  (1914) ;  Charles  3. 
Skil ton's  '  Indian  Dances '  for  orchestra ;  Arthur 
F.  Nevin's  opera  '  Poia '  (1910);  Arthur  Far- 
well's  piano-works  'American  Indian-Melo- 
dies,' 'Impressions  of  the  Wa-Wan  Ceremony,' 
op.  21,  'Navajo  War-Dance,'  op.  29,  'Dawn,' 
'  Ichibuzzh '  and  '  The  Domain  of  the  Hurakan ' ; 
Horace  A.  Miller's  Theme  and  Variations,  other 
piano-pieces  and  songs ;  Frederic  Ayres'  over- 
ture 'From  the  Plains';  Harold  A.  Loring's 
piano-pieces  and  songs  (based  on  several  years 
spent  on  reservations)  ;  Charles  W.  Cadman's 
opera  'The  Land  of  Misty  Water'  and  several 
striking  songs ;  Victor  Herbert's  opera  '  Na- 
toma'  (1911)  ;  varied  works  by  Carlos  Troyer 
(d.  1920),  Thorvaid  Otterstrom  and  Mrs.  Stella 
Prince  Stocker  ;  and  large  numbers  of  detached 
pieces  by  other  hands.  The  foregoing  examples 
illustrate  varied  treatments,  from  faithful 
transcriptions  harmonized  to  purely  fanciful 
imitations  or  suggestions.  But  together  they 
testify  to  the  strong  impression  that  the  study 
of  Indian  sources  has  made  upon  American 
composition.  See  article  by  Cadman  in  'The 
Musical  Quarterly,'  July,  1915. 

One  of  the  objects  of  the  Wa-Wan  Press, 
founded  in  1901  by  Arthur  Farwell,  was  to  pro- 
mote this  movement  by  publishing  both  musical 
and  literary  material  regarding  it.  Specially 
useful  summaries  are  given  in  The  Art  of  Music, 
Vol.  i.,  and  at  various  points  in  Vol.  iv. 

INDIANAPOLIS  CONSERVATORY  OP 
MUSIC,  THE,  was  founded  in  1897  by  Edgar 
M.  Cawley,  who  has  since  been  at  its  head. 

J  INDY,  PAUL  MARIE  THlilODORE 
VINCENT  D' (Mar.  27,  1851,  Paris).  Seearti- 
cle  inVol.  ii.  4G5-6.  Since  1911  he  has  been  sole 
director  of  the  Schola  Cantorum,  and  since  1912 
professor  of  the  orchestra-class  in  the  Conserva- 
tory. In  1912  he  was  made  an  officer  of  the 
Legion  d'Honneur.  In  1905  he  visited  the 
United  States,  conducting  several  performances 
of  his  works  in  New  York  and  Boston.  Addi- 
tional works  to  be  noted  are  'Petite  Chanson 
Gregorienne,'  op.  60,  for  piano,  four  hands; 
'Jour  d'filte  h.  la  Montague,'  op.  61,  for  or- 
chestra—  'Aurore,'  'Jour,'  'Soir';  'Souvenirs,' 
op.  62,  poem  for  orchestra ;  '  Menuet  sur  le 
nom  de  Haydn,'  op.  65,  for  piano;  'Pifece'  in 
B-flat,  op.  66,  for  organ  ;  oratorio,  'Le  MystSre 
de  St.-Christophe'  (1916,  given  in  Paris,  1917)  ; 
and  3rd  Symphony,  'Sinfonia  Brevis  de  Bello 
Gallico '  (given  by  Boston  Symphony  Orchestra, 
1919).  Vol.  ii.  of  his  Composition  Musicale 
came  out  in  1909,  and  he  has  also  written 
C6sar  Franck,  1906,  and  Beethoven,  Biographie 
Critique,  1911  (translated  by  Baker,  1913). 
See  biographies  by  Deniau,  1903,  Borgex,  1913, 
S^rieux,  1914,  and  in  works  on  French  Music 
generally,  with  Starczewski,  La  Schola  Can- 
torum, 1905;  also  article  by  Hillin' The  Musi- 
cal Quarterly,'  April,  1915. 


254 


INGALLS 


INTERNATIONAL  MUSICAL 


INGALLS,  JEREMIAH  (1764-1828).  See 
Tune-Books,  1805. 

INGRAM,  FRANCES  (b.  1888).  See  Reg- 
ister, 10. 

INSTITUTE  OF  MUSIC  PEDAGOGY, 
THE,  of  Northampton,  Mass.,  is  a  summer- 
school  for  training  public-school  supervisors. 
It  originated  in  an  enterprise  started  in  1900 
by  Sterrie  A.  Weaver  at  Westfield,  Mass.  At 
his  death  in  1904  this  was  continued  by  Ralph 
L.  Baldwin  until  1907,  when  the  School,  now 
fully  organized,  was  moved  to  Northampton 
and  George  O.  Bowen  and  Lyman  L.  Wellman 
(d.  1908)  became  partners.  Since  then  it  has 
been  conducted  by  Messrs.  Baldwin  and  Bowen, 
with  several  other  instructors.  The  number  of 
students  is  125-150  each  year,  and  about  250 
have  graduated.  The  sessions  continue  three 
weeks,  and  are  held  in  the  Northampton  High 
School,  with  exceptional  advantages  for  demon- 
stration and  practice. 

INSTITUTE  OF  MUSICAL  ART,  THE, 
of  New  York,  came  into  being  in  1904  under 
the  hand  of  Frank  Damrosch  upon  the  basis 
of  an  initial  endowment  of  $500,000  given  by 
James  Loeb,  Esq.,  in  memory  of  his  mother, 
Betty  Loeb.  To  this  original  endowment  con- 
siderable additions  were  later  made  by  gifts  or 
subscription.  Receiving  its  charter  from  the 
Board  of  Regents  of  the  University  of  the  State 
of  New  York,  the  Institute  was  opened  in  1905, 
at  first  occupying  a  building  remodeled  from 
the  fine  old  Lenox  residences  at  Fifth  Avenue 
and  12th  Street.  In  1910  it  removed  to  a  new 
and  perfectly  appointed  building  of  its  own  at 
120  Claremont  Avenue,  near  Columbia  Uni- 
versity. Dr.  Damrosch  has  continued  as 
director  from  the  beginning,  and  has  consist- 
ently applied  the  progressive  policy  originally 
outlined. 

With  its  liberal  resources,  the  Institute  has 
been  able  from  the  first  to  command  the  services 
of  exceptional  teachers  in  every  branch,  to  sift 
its  students  rigorously  with  reference  to  ability 
and  promise,  to  insist  that  every  student,  ex- 
cept the  more  advanced,  shall  pursue  such 
studies  as  are  prescribed  for  his  special  needs, 
to  provide  without  extra  charge  many  striking 
general  recitals  and  lectures,  and  thus  to  main- 
tain an  educational  standard  that  is  at  least 
unusual.  In  addition  to  the  branches  uni- 
versally taught,  attention  is  given  to  dramatic 
singing,  choral  work,  chamber,  orchestral  and 
band  music,  general  and  special  pedagogy,  the 
training  of  supervisors  for  public  schools,  and 
lectures  on  historical  and  critical  subjects. 
The  faculty  numbers  over  70,  about  half  of 
whom  have  served  since  the  first  years.  The 
number  of  students  was  originally  fixed  at  about 
600,  and  this  figure  has  been  regularly  main- 
tained or  exceeded.  The  total  number  en- 
rolled up  to  1920  has  been  about  8500,  and  the 


graduates  number  about  600.  The  average 
size  of  the  school  chorus  is  60,  and  of  the  or- 
chestra 75.  The  equipment  includes  a  reference 
library  of  over  2500  volumes,  and  a  large  cir- 
culating library  of  music. 

The  eminence  of  the  Institute  is  attested  by 
the  large  proportion  of  its  graduates  or  recipi- 
ents of  artist-diplomas  who  now  occupy  posi- 
tions of  leadership   throughout   the   country. 

INTEN,  FERDINAND  VON  (1848-1918). 
See  Register,  5. 

INTERNATIONAL  MUSICAL  SOCIETY, 
THE,  founded  at  Leipzig  in  1899  to  promote 
advanced  musical  scholarship  by  maintaining 
a  monthly  Zeitschrift  and  quarterly  Sammel- 
hunde  and  by  fostering  local  and  national  associ- 
ations of  its  members,  with  general  Congresses 
at  intervals,  promptly  secured  30-40  members 
in  the  United  States.  A  National  Section  was 
organized  in  1907,  which  held  annual  meetings 
until  the  outbreak  of  the  European  War  in 
1914  led  to  the  dissolution  of  the  central  So- 
ciety. The  presidents  of  the  Section  were  Albert 
A.  Stanley  (1907-1911)  and  Waldo  S.  Pratt. 
The  total  number  of  members  rose  to  about 
120,  besides  many  libraries.  The  Section  was 
officially  represented  at  the  Congresses  of 
Vienna  (1909),  London  (1911)  and  Paris  (1914). 
Local  groups  of  its  members  occasionally  held 
special  meetings.  Although  the  apparent  re- 
sults of  the  Section  in  actual  research  _^and 
publication  were  slight,  it  drew  attention  to 
scholarly  effort  in  a  way  that  may  lead  to  some- 
thing more  substantial  in  the  future. 

The  meetings  of  the  Section  were  regularly 
held  in  connection  with  those  of  the  Music 
Teachers'  National  Association,  and  the  fol- 
lowing papers  of  the  International  Society 
were  printed  in  the  Proceedings  of  the  M.  T. 
N.  A.: 

Philip  G.  Clapp,  'The  Symphonies  of  Gustav 
Mahler'  (1914),  C.  Winfred  Douglas,  'History  and 
Work  of  the  Schola  Cantorum'  (1913),  George  C. 
Gow,  '16th-century  and  IQth-Century  Tendencies' 
(1908),  Edward  B.  Hill,  'The  Modern  Interpretive 
Ballet'  (1913),  Bruno  Hirzel,  'Operatic  Italy  in  1770, 
by  an  Eye-Witness'  (1910),  Otto  Kinkeldey,  'In- 
fluence of  the  Folk-Song  upon  Artistic  Progress' 
(1915),  Fritz  Krull,  'On  the  Causes  for  Fixing  the 
Intervals  of  the  Major  Scale'  (1912),  Leo  R.  Lewis, 
'Possibilities  of  Thematic  Indexing'  (1912),  Charles 
H.  Mills,  'History  of  Musical  Degrees'  (1912), 
'  Relation  of  the  Drama  of  Adam  de  la  Hale  and 
Hans  Sachs'  (1915),  Waldo  S.  Pratt,  'Need  of  a 
Progressive  Policy'  (1911),  Edward  Silsky,  'Music 
Division  of  the  New  York  Public  Library'  (1914), 
O.  G.  Sonneck,  '  Was  Richard  Wagner  a  Jew ? '  (1911), 
Theodore  Zbinden,  'Value  of  Music  to  the  Physician' 
(1915),  Jaroslaw  de  Zielinski,  'North  American 
Folk-Songs'  (1908).  In  addition,  more  or  less 
elaborate  reports  were  made  by  Albert  A.  Stanley 
on  the  Vienna  and  London  Congresses  (1909,  19111, 
and  by  J.  Lawrence  Erb  on  the  Paris  Congress  (1914^ , 

Articles  by  members  of  the  Section  are  as  follows : 
Richard  Aldrich,  Z.  xv.  78 ;  Franz  X.  Arens,  Z.  iii. 
321;    Bruno  Hirzel,  S.  x.  151,  xiii.  348,  Z.  xii.  154; 


IPPOLITOV-IVANOV 


IVES 


255 


Otto  Kinkeldey,  S.  ix.  538;  O.  G.  Sonneck,  S.  i. 
630,  iii.  139,  v.  119,  329,  vi.  428,  viii.  112,  xi.  312,  xii. 
297,  525,  xiii.  392,  xiv.  226,  xv.  102,  Z.  i.  121,  388,  ii. 
158,  264,  vii.  273,  ix.  1,  xiv.  170;  Albert  A.  Stanley. 
Z.  ii.  394. 

Records  of  the  Section  meetings  are  printed  in  the 
Proceedings  of  the  M.  T.  N.  A.,  1907-1916  inclusive. 
The  Constitution  is  given  in  the  report  for  1907,  and 
a  list  of  members  in  that  for  1910. 

JIPPOLITOV-IVANOV,  MICHAEL 
MICHAILOVITCH  (Nov.  19,  1859,  Gatchina, 
Russia).  See  article  in  Vol.  ii.  507,  and  note 
in  V.  647.  He  succeeded  Safonov  as  director 
of  the  Moscow  Conservatory  in  1906.  To 
the  list  of  works  add  an  orchestral  suite,  op. 
20 ;  '  The  Legend  of  the  White  Swan  at  Nov- 
gorod,' op.  24;  the  symphonic  poem  'Iveria,' 
op.  42;  an  'Armenian  Rhapsody,'  op.  48,  for 
orchestra;  and  the  operas  'Treachery'  (1911) 
and  'Ole  from  Nordland'  (1917). 

t  IRELAND,  JOHN  (Aug.  13,  1879,  Bow- 
don,  England),  the  son  of  the  editor  of  the 
Manchester  'Examiner,'  studied  under  Stan- 
ford at  the  Royal  College  of  Music  until  1901 
and  graduated  as  Mus.B.  at  Durham  Univer- 
sity. He  has  since  devoted  himself  to  com- 
position.    The  list  of  his  works  is  as  follows : 

Overture,  'Midsummer.' 

Symphonic  Prelude,  'Tritons.' 

Prelude,  'The  Forgotten  Rite'  (Augener). 

Orchestral  Poem  in  A  minor. 

Overture,  'Pell6as  et  M^lisande.' 

Sextet  for  strings,  clarinet  and  horn. 

Quartets  in  D  minor  and  C  minor,  for  strings. 

Trio  in  E  minor,  for  piano,  violin  and  'cello. 

Trio,   No.  2,   in  one  movement,  for  piano,  violin 

and  'cello  (Augener). 
Phantasie  in  A  minor,  for  violin,  'cello  and  piano 

(Augener). 
Trio  in  D  minor,  for  piano,  'cello  and  clarinet. 
Sonatas  for  violin  and  piano  —  No.  1,  in  D  minor 
;     (Augener),   No.   2,   in  A  minor   (Rogers),   in  C 

minor,  and  in  G  minor,  in  one  movement. 
Sonata  in  C  minor,  for  piano. 
'A  Sea-Idyir  in  three  movements,  for  piano. 


Two  Rhapsodies,  one  in  C-sharp  minor,  for  piano 

(Rogers,  one). 
'Decorations'  —  'The  Island-Spell,'   'Moonglade,' 

'The  Scarlet  Ceremonies'  —  for  piano  (Augener). 
Preludes  —  'The    Undertone,'     'Obsession,'     'The 

Holy   Boy,'    'The    Fire   of   Spring' — for   piano 

(Rogers). 
'London  Pieces'  —  'Chelsea  Reach,'  'Ragamuffin' 

—  for  piano  (Augener). 
'The  Towing-Path,'  for  piano  (Augener). 
'Leaves   from   a   Child's  Sketch-Book,'   for   piano 

(Rogers) . 
About  20  songs   (Augener,   Boosey,   Rogers,  ||Cur- 

wen). 
6  two-part  songs  (Novello,  Curwen,  Arnold). 
Morning,     Evening     and     Communion     Services 

(Novello). 
Anthem,    '  Greater   love  hath  no  man   than  this' 

(Stainer). 
'Elegiac    Romance,'    'Sursum    Corda'    and    'Alia 

Marcia,'  for  organ  (Novello). 

See  articles  by  Hull  in  'Musical  Opinion,' 
Feb.,  Mar.,  1919,  by  Evans  in  'The  Musical 
Quarterly,'  Apr.  1919,  and  in  'The  Musical 
Times,'  Aug.,  Sept.,   1919. 

ITALIAN  SYMPHONY  ORCHESTRA, 
THE,  of  New  York,  was  founded  in  1913  by 
Pietro  Floridia  and  has  been  conducted  by  him 
since  that  time. 

ITHACA  CONSERVATORY  OF  MUSIC, 
THE,  of  Ithaca,  N.  Y.,  was  founded  in  1892 
by  W.  Grant  Egbert,  who  remained  at  its  head 
till  1903  and  returned  in  1917,  the  director  in 
1903-05  being  George  C.  Williams  and  in 
1905-17  Eric  Dudley.  It  now  maintains  a 
faculty  of  about  thirty  instructors,  with  courses 
in  public-school  music,  dramatic  art,  physical 
training,  etc.,  besides  all  the  regular  topics. 
The  enrolment  of  students  is  about  600,  the 
total  since  the  beginning  being  about  11,000, 
with  about  400  graduates.  The  Conservatory 
has  four  buildings  at  Dewitt  Park. 

IVES,  ELAM,  Jr.  (1802-1864).  See  Tune- 
Books,  1829. 


JACCHIA,  AGIDE  (Jan.  5,  1875,  Lugo,' It- 
aly), attended  the  conservatory  at  Pessaro 
(a  favorite  pupil  of  Mascagni) ,  graduating  with 
honors  in  1898.  He  began  conducting  at  the 
Brescia  Opera  at  twenty-three  and  continued 
for  some  years  in  Milan  and  Rome.  He  visited 
the  United  States  in  1902  as  assistant-conductor 
in  Mascagni's  company.  In  Italy  he  covered 
a  large  repertoire,  including  the  newer  works 
of  Mascagni,  Leoncavallo,  Giordano,  Catalani, 
Orefice,  Filiasi,  Fiocca  and  Romani.  In  1907- 
09  he  came  with  the  Milano  Opera  Company  to 
tour  the  Pacific  Coast,  Central  America  and 
Canada.  In  1909  he^conducted  a  brilliant  sea- 
son at  the  Academy  of  Music  in  New  York,  and 
in  1910-14  was  general  music-director  of  the 
Montreal  Opera  Company  and  of  the  National 
Opera  Company  of  Canada  successively.  In 
1914-15  he  was  chief  conductor  at  the  Century 
Theater  in  New  York.  The  next  season  he 
conducted  for  the  Boston  National  Opera  Com- 
pany, and  since  1916  has  led  the  Boston  Sym- 
phony 'Pop'  concerts  in  Symphony  Hall.  He 
has  composed  a  'Inno  a  Rossini,'  a  cantata  for 
soprano,  baritone,  chorus  and  orchestra  (1898, 
first  prize  in  Bodiora  contest  at  Pesaro),  the 
National  Hymn  of  Central  America  (1908, 
dedicated  to  the  President  of  Guatemala),  a 
Tarantelle,  Gavotte,  many  songs  and  arrange- 
ments.    [  R.9  ] 

JACKSON,  GEORGE  K.  (1745-1823).  See 
Register,  2,  and  Tune-Books,  1816. 

JACKSON,  HARRY  DYER.  See  Col- 
leges, 3   (Jamestown  C,   N.  D.). 

JACKSON,  LEONORA  (b.  1879) .  See  Reg- 
ister, 8. 

JACKSON,  SAMUEL  P.  (1818-1885).  See 
Register,  3. 

JACOBI,  JOHN  OWEN.     See  Register,  1. 

JACOBSOHN,  SIMON  E.  (1839-1902). 
See  Register,  6. 

JACOBUS,  CHARLES  M.  (1867-1918). 
See  Colleges,  3  (Ohio  Wesleyan  U.). 

JAEGER,  JOHN  AUGUST  (b.  1879).  See 
Colleges,  3  (Hamline  U.,  Minn.). 

JAMES,  PHILIP  (May  17,  1890,  New  York), 
had  his  general  education  in  New  York,  where 
from  1904  he  studied  organ  with  J.  W.  Andrews 
and  held  several  positions  as  organist.  In  1908 
he  gave  recitals  at  Albert  Hall  in  London  and  for 
the  Bach  and  Handel  Society  in  Paris,  followed 
by  further  study  of  composition  with  Norris 
and  of  orchestration  with  Elliott  Schenck. 
In  1910  he  became  a  fellow  of  the  A.  G.  O. 
He  has  conducted  various  choral  societies  in 
and  about  New  York.  In  1917  he  entered  the 
Army,  became  lieutenant,  was  in  active  service 
in  many  of  the  severest  battles,  after  the  armis- 
tice was  in  '  Pershing's  own  band '  at  Chaumont, 


in  1919  toured  with  this  for  the  Victory  Loan, 
and  became  its  band-master.  He  has  now  re- 
sumed composition.     His  works  include 

Concert-overture  for  orchestra. 

Symphonic  Poem,  'Aucassin  and  Nicolette.' 

Sonatas  in  A  minor  and  D  minor,  for  violin  and 
piano. 

Incidental  Music  to  'The  House  of  Rimmon.' 

Concert-Variations  in  A-flat,  for  piano. 

Passacaglia  in  F,  for  piano. 

'Meditation  k  Ste.-Clothilde,'  for  organ. 

Cantatas,  'The  Triumph  of  Israel,'  'The  Night- 
ingale of  Bethlehem'  and  'Spring  in  Men  tons' 
(women's  voices). 

Te  Deum  in  C,  op.  3  ;  Jubilate  in  C,  op.  15  ;  Mag- 
nificat and  Nunc  Dimittis  in  D. 

Anthems:  'Child  Jesus  came  to  earth'  and  'Christ 
is  born,'  op.  1;  'As  now  the  sun's  declining 
rays,'  op.  2;  'The  day  is  gently  sinking,'  op. 
6;  'We  pray  Thee,  gracious  Lord'  and  'Hail, 
dear  Conqueror,'  op.  10;  'I  am  the  Vine,'  op. 
17;  'I  have  considered  the  days  of  old,'  op.  14; 
Ps.  17,  op.  20. 

Choruses:  (mixed  voices)  'The  Pride  of  May,'  op. 
5;  'I  know  a  maiden,' op.  7;  (men's  voices) 'The 
Victors,'  op.  12;  (women's  voices)  'Lullaby'  and 
'Phyllis,'  op.  4;  'A  Spring  Song,'  op.  18,  'My 
little  pretty  one,'  op.  19.     • 

Songs:  'Transit,'  'A  Hush  Song,'  'Dearie,'  op.  8; 
'The  Secret,'  op.  9,  for  baritone ;  and  others. 

(Works  with  opus-number  are  published.)  [  R.9  ] 

JANES,  WALTER  (1779-1827).  See  Tune- 
Books,  1807. 

JANUSCHOWSKY,  GEORGINE  VON 
(1859  ?- 19 14) .     See  Register,  7. 

JARDINE,  GEORGE  (1801-  ?  )  and 
JOHN.     See  Register,  3. 

JARDINE  &  SON,  of  New  York,  an  organ- 
making  firm  organized  in  1860  to  carry  on  the 
business  established  by  George  Jardine  in  1834, 
which  till  1899  was  one  of  the  most  able  and 
prominent  in  the  country. 

JARVIS,   CHARLES.     See  Register,  3. 

JARVIS,  CHARLES  H.  (Dec.  20,  1837, 
Philadelphia  :  Feb.  25,  1895,  Philadelphia), 
son  of  the  foregoing,  began  study  when  only 
four  and  at  seven  made  his  first  appearance  as 
pianist.  While  in  the  public  schools  he  studied 
theory  with  Leopold  Meignen.  As  soloist  he 
appeared  with  the  New  York  Philharmonic  So- 
ciety, the  Thomas  Orchestra  and  other  leading 
organizations.  In  1862  he  instituted  in  Phila- 
delphia chamber-music  and  historical  piano- 
recitals,  in  which  during  30  years  were  pre- 
sented over  800  compositions.  He  was  an  ex- 
cellent teacher,  maintaining  always  a  high 
artistic  standard.  His  few  compositions  are 
unpublished,  except  a  Nocturne  in  D-flat 
issued  by  the  Philadelphia  Manuscript  Music 
Society  after  his  death.  His  fine  library  of 
music  is  in  the  Drexel  Institute  in  Philadelphia. 
See  article  by  T.  Carl  Whitmer  in  'Music,' 
May,  1900.     [  R.4  ] 


256 


JEHIN-PRUME 


jonAs 


257 


JEHIN-PRUME,  FRANgOIS  (1839-1899) . 
See  Register,  5. 

JENKS,  STEPHEN  (1772-1856).  See 
Tune-Books,  1800. 

JEPSON,  HARRY  BENJAMIN  (Aug.  16, 
1870,  New  Haven,  Conn.),  the  son  of  Benjamin 
Jepson,  long  prominent  in  public-school  music, 
graduated  as  A.B.  from  Yale  in  1893  and  be- 
came Mus.B.  in  1894.  He  studied  piano, 
organ  and  composition  with  Stoeckel,  and  con- 
tinued the  latter  with  Parker  and  organ  and 
composition  with  Widor  in  Paris.  From  1895 
he  was  director  of  the  University  Choir  and  in- 
structor in  organ,  in  1899  becoming  assistant- 
professor  in  theory,  and  in  1906  professor  and 
University  organist.  His  recitals  on  the  great 
organ  in  Woolsey  Hall  have  won  him  much 
renown.  In  1918-19  he  had  charge  of  the  Yale 
Bureau  at  the  University  Union  in  Paris.  His 
compositions  include  a  'Rhapsodie'  for  or- 
chestra, a  'Fantasie'  for  organ  and  orchestra, 
two  organ-sonatas  (No.  1,  in  G  minor,  Novello), 
'  Veni,  Creator  Spiritus, '  for  men's  voices 
(Novello),  and  these  organ-works  (all  Schirmer) 
—  'Wedding-Song,'  'Rhapsodie,'  Processional, 
'Tempo  di  Minuetto,'  Ballade,  Caprice,  'Le- 
gende,'  'Sortie  Nuptiale,'  'Pantomime,'  'Pastel,' 
'L'Heure  Exquise'  and  Toccata.  He  edited 
University  Hymns,  for  men's  voices,  and  has 
written'on  topics  relating  to  the  organ.    [  R.8  ] 

t  JOACHIM,  JOSEPH  (June  28,  1831,  near 
Pressburg,  Germany  :  Aug.  15,  1907,  Ber- 
lin). See  article  in  "Vol.  ii.  533-4,  and  list  of 
biographies  given  in  Baker,  Did.  of  Musicians, 
p.  441. 

'JOB.'  A  dramatic  poem,  op.  24,  by  Fred- 
erick S.  Converse,  for  soli,  chorus  and  orchestra, 
first  produced  at  the  Worcester  Festival  of  1907 
and  at  Hamburg  in  1908.  An  oratorio  of  the 
same  name  was  written  by  Benjamin  C.  Blod- 
gett  in  1889  and  produced  at  Smith  College. 

JOCELYN,  SIMEON  (1746-1823).  See 
Tune-Books,  1780. 

'JOHN  BROWN'S  BODY.'  See  article  in 
Vol.  ii.  536-7.  The  reference  in  Elson,  History 
of  American  Music,  revised  edition,  1915,  is 
pp.  156-61. 

JOHNS,  CLAYTON  (Nov.  24,  1857,  New- 
castle, Del.),  after  over  three  years  spent  in 
studying  architecture  in  Philadelphia,  in  1879 
went  to  Boston  to  pursue  music  with  Paine  and 
Sherwood.  In  1882-84  he  was  in  Berlin,  taking 
piano  with  Grabow,  Raif  and  Rummel  and 
composition  with  Kiel.  Since  1884  he  has 
been  teaching,  giving  recitals  and  composing 
in  Boston,  from  1912  on  the  staff  of  the  New 
England  Conservatory.  He  has  published  a 
Melody,  Berceuse,  Intermezzo,  Romance  and 
Scherzino  for  violin  and  piano,  an  Introduction 
and  Fugue  for  piano  (played  by  Hofmann) 
and  over  100  songs,  many  of  which  are  widely 
used.  Music  for  a  14th-century  Mystery-Play 
S 


was  written  for  a  private  performance.  He  ia 
now  publishing  recent  pieces  for  the  piano. 
He  has  also  written  The  Essentials  of  Piano- 
forte-Playing, 1909,  and  From  Bach  to  Chopin, 
1911.     [  R.7  ] 

JOHNSON,  ARTEMAS  N.  (1825?-  ?  ). 
See  TuNE-BooKS,  1849. 

JOHNSON  &  SON,  of  Westfield,  Mass., 
was  a  firm  of  organ-makers  that  for  many  years 
exerted  a  useful  influence  by  thorough  and  re- 
fined work.  The  business  was  established  by 
William  A.  Johnson  about  1860,  and  the  firm 
constituted  later  by  the  admission  of  his  son, 
William  H.  Johnson  (b.  1837).  In  1883  the 
business  was  taken  over  by  Emmons  Howard. 
The  firm  built  over  700  instruments. 

JOHNSTON,  THOMAS  (d.  1768?).  See 
Register,  1. 

JOHNSTONE,  ARTHUR  EDWARD  (May 
13,  1860,  London,  England),  was  educated  in 
the  public  schools  and  the  College  of  the  City 
of  New  York,  and  studied  piano  with  William 
Mason  and  Scharfenberg,  organ  and  harmony 
with  S.  P.  Warren  and  composition  with  Leo- 
pold Damrosch.  For  some  years  he  taught 
privately,  and  was  harmony-teacher  at  the 
summer-school  of  Cornell  University.  He  was 
also  musical  editor  for  the  American  Book 
Company,  resigning  in  1919  to  become  execu- 
tive editor  of  the  Art  Publication  Society  in 
St.  Louis.  He  has  composed  a  concert-over- 
ture for  orchestra  and  organ  (1915,  Chicago 
Symphony  Orchestra),  about  1000  school -songs 
and  piano-pieces.  With  H.  W.  Loomis  he  is 
author  of  The  Lyric  Music  Series,  4  vols.,  for 
public  schools.  He  has  edited  lessons  for  use 
with  the  player-piano  and  a  system  for  teaching 
music  by  the  phonograph.  He  is  author  of 
Instruments  of  the  Modern  Symphony  Orchestra, 
a  hand-book  for  students.     [  R.7  ] 

JOHNSTONE-BISHOP,  GENEVRA  (b. 
1864).     See  Register,  7. 

JOLLS,  JOHN  M.  See  Colleges,  3  (Ur- 
sinus  C,  Pa.). 

JONAS,  ALBERTO  (June  8,  1868,  Madrid, 
Spain),  was  trained  in  Madrid  by  Mendizabal, 
in  Brussels  by  De  Greef  (winning  all  the  first 
prizes  at  the  Conservatory)  and  in  Petrograd 
by  Rubinstein.  After  his  debut  as  pianist  in 
1880  at  Brussels  he  made  extensive  tours 
throughout  Europe  and  America,  giving  over 
two  thousand  concerts.  In  1894-98  he  was 
chief  piano-teacher  at  the  School  of  Music  in 
Michigan  University,  and  in  1898-1904  direc- 
tor of  the  Michigan  Conservatory  in  Detroit. 
In  1905-14  he  taught  in  Berlin,  attracting 
pupils  from  all  over  the  world,  including  many 
now  known  as  virtuosi.  Since  1914  he  has 
taught  in  New  York.  He  has  composed  many 
piano-pieces  that  have  won  popularity  (Schott, 
Lemoine,  Schirmer,  Carl  Fischer,  Ditson).  He 
translated  Gevaert's  treatise  on  instrumenta- 


25S 


JONES 


tion  into  Spanish  in  1903.  His  Pianoscript 
Book  is  highly  regarded  by  master-teachers, 
and  he  is  now  publishing  The  Master-School  of 
Modern  Piano-Virtuosity,  the  latter  being  a 
monumental  work  in  English,  German,  French 
and  Spanish,  prepared  with  the  collaboration 
of  Busoni,  Sauer,  Lamond,  Rosenthal,  Go- 
dowsky,  Gabrilovitch,  Ganz  and  others.  He 
has  also  written  for  musical  journals.     [  R.8  ] 

JONES,  ABNER.      See  Tune-Books,  1832. 

JONES,  F.  O.    See  Register,  7. 

JONES,  MARGED  EDITH.  See  Colleges 
3  (Indiana  Central  U.). 

JORDAN,  EBEN  DYER  (1857-1916). 
See  Register,  9. 

JORDAN,  JULES  (Nov.  10,  1850,  Willi- 
mantic,  Conn.),  since  1870  has  been  identified 
with  Providence,  where  he  began  as  tenor  at 
Grace  Church.  After  study  with  Osgood  in 
Boston  and  Sbriglia  in  Paris,  he  was  for  thir- 
teen years  choir-master  at  Grace  Church 
and  became  one  of  the  best-known  concert- 
tenors  in  New  England.  He  sang  in  'La  Dam- 
nation de  Faust'  at  its  first  American  produc- 
tion in  New  York  in  1880  under  Leopold  Dam- 
rosch.  He  has  been  the  only  conductor  of  the 
famous  Arion  Club  of  Providence  since  its 
organization  in  1881,  and  has  not  missed  one 
of  its  performances.  In  1895  Brown  Univer- 
sity made  him  Mus.D.  He  has  published  the 
romantic  opera  'Rip  van  Winkle,'  in  three  acts 
(1898),  the  operettas  'The  Buccaneers'  and 
'As  Once  of  Old'  (both  to  original  texts),  the 
cantatas  'The  Wind-Swept  Wheat,'  for  tenor, 
chorus  and  orchestra,  and  'The  Night-Serv- 
ice,' for  soli,  chorus  and  orchestra,  the  ballad 
'  Barbara  Frietchie,'  for  soprano,  chorus  and 
orchestra,  about  300  songs,  anthems,  etc., 
many  of  which  have  become  noted.  He  has 
also  written  the  opera  'Nisida,'  in  three  acts 
(original  text),  the  operettas  'Thistle-Down,' 
'A  Leap-Year  Furlough'  and  'The  Rivals,' 
and  some  short  works.     [  R.6  ] 

JORDAN,  MARY  (b.  1879).  See  Regis- 
ter, 8. 

JORN,  KARL  (b.  1876).     See  Register,  9. 

JOSEFFY,  RAFAEL  (July  3, 1852,  Hunfalu, 
Hungary  :  June  25,  1915,  New  York).  See 
article  in  Vol.  ii.  545-6.  He  was  professor  of 
piano  at  the  National  Conservatory  in  New 
York  in  1888-1906.  His  School  of  Advanced 
Piano-Playing,  1902,  was  translated  into  Ger- 
man. He  also  published  First  Studies  for  the 
Piano,  1913,  edited  a  monumental  edition  of 
Chopin's  complete  works  (15  vols.)  and  studies 
by  Czerny,  Henselt,  Moscheles,  Schumann  and 
Schlozer.  See  article  by  Edwin  Hughes  on  his 
'Contribution  to  Piano-Technic '  in  'The  Mu- 
sical  Quarterly,'   July,    1916.     [  R.6  ] 

JOURNALISM,  MUSICAL.  This  term  cov- 
ers two  forms  of  effort  —  the  editing  of  musical 
periodicals  and  the  provision  of  musical  reports 


JOURNALISM 

and  criticisms  in  non-musical  periodicals,  es- 
pecially newspapers.  An  adequate  account 
of  these  in  America  is  not  here  attempted. 
But  certain  salient  points  may  be  stated. 

Periodicals  devoted  to  music  began  before 
there  was  a  public  to  sustain  them,  so  that 
many  were  short-lived.  Apparently  the  first 
was  the  'American  Musical  Magazine'  of  New 
York,  begun  in  1786  and  succeeded  in  1790  by 
'Gilfert's  Musical  Magazine,'  issued  by  George 
Gilfert,  dealer  in  instruments.!  These,  like 
many  later,  were  little  more  than  serial  issues 
of  music-pieces.  Ritter  refers  to  a  'Euter- 
peiad'  in  1821  as  'the  first  established  musical 
journal  in  Boston,'  -  and  another  of  the  same 
name  appeared  in  New  York  in  1830-31. 
H.  T.  Hach  edited  the  'Musical  Magazine'  in 
Boston  in  1839-42.  J.  W.  Moore  twice  started 
(1840,  '43)  'The  World  of  Music'  at  Bellows 
Falls,  Vt.,  and  as  late  as  1863  issued  'Moore's 
Musical  Record'  at  Manchester,  N.  H.'  One 
of  L.  A.  Godey's  early  enterprises  in  Philadel- 
phia from  1842  was  'The  Lady's  Musical  Li- 
brary,' edited  by  Charles  Jarvis.  In  1846 
A.  N.  and  J.  Johnston  set  up  in  Boston  '  The 
Musical  Gazette  '  (fortnightly) .  In  New  York 
from  1850  I.  B.  Woodbury  put  forth  an 
'American  Monthly  Musical  Review,'  which 
in  1852  under  Mason's  more  powerful  lead  be- 
came the  '  Musical  Review'  and  then  the  'New 
York  Musical  Review,'  Woodbury  turning  to 
the  'Musical  Pioneer,'  which  he  managed  in 
1855-68.  These  latter  were  connected  with 
the  promotion  of  'psalmody'  and  its  sequels. 
Another  line  in  New  York  started  with  H.  C. 
Watson's  'Musical  Chronicle'  of  1843,  changed 
presently  into  the  'American  Musical  Times' 
and  the  'Philharmonic  Journal'  and  leading 
on  to  the  'American  Art  Journal,'  begun  by 
Watson  in  1863,  but  developed  from  1875  by 
W.  M.  Thoms  till  beyond  1900.''  These  mag- 
nified the  relation  between  professional  prog- 
ress and  trades  like  instrument-making  and 
music-publishing,  as  have  done  the  many 
journals  fathered  by  J.  C.  Freund,  from  his 
'Music-Trade  Review'  of  1875  to  the  present 
'  Music-Trades,'  and  others. 

Meanwhile  in  Boston  in  1852  began '  Dwight's 
Journal  of  Music,'  which  till  1881  continued  to 
be  the  only  really  dignified  and  influential 
organ  of  musical  report  and  criticism.  From 
this  branched  off  in  1878  Ditson's  'Musical 
Record,'  edited  at  first  by  Dexter  Smith,  in 
1897-1900  by  Philip  Hale  and  then  by  Thomas 
Tapper,  and  in  1903  succeeded  by  '  The  Musi- 
cian.' In  New  York  the  'Dramatic  and  Musi- 
cal Courier'  began  in  1880,  being  later  trans- 

'Spillane,  American  Pianoforte,  pp.  99-101. 

'  Music  in  America,  chap.  vi. 

«  Jones,  American  Music  and  Musicians,  p.  103. 

*  In  1870-71  Thoms  issued  a  musical  daily,  'The 
Journal  of  the  Day.' 


RAFAEL  JOSEFFY 


JOURNALISM 


JUON 


259 


formed  under  Otto  Floersheim  and  M.  A. 
Blumenberg  into  the  large  and  powerful  '  Musi- 
cal Courier.'  In  1883  Theodore  Presser  founded 
'The  Etude,'  which  since  1884  in  Philadelphia 
has  been  a  prominent  organ  of  private  music- 
teaching.  In  1880  O.  L.  Fox  started  'The  In- 
dicator '  in  Chicago  —  the  first  of  a  long  line 
of  similar  journals  in  the  Middle  West.  After 
1880  the  number  of  enterprises  becomes  too 
large  to  be  followed  in  detail.  It  is  enough  to 
identify  as  leaders  in  the  field,  of  those  that 
have  been  mentioned , '  The  Musician' ,  now  pub- 
lished in  New  York,  the  '  Musical  Courier'  and 
'The  Etude,'  besides  'The  Musical  Leader,' 
founded  in  1896  at  Chicago  by  CharlesF.  French, 
'  Musical  America,'  begun  by  Freund  in  1898, 
the  'New  Music  Review,'  issued  by  H.  W.  Gray 
since  1901, '  The  Pacific  Coast  Musical  Review ' 
(weekly),  begun  in  1901  and  now  edited  by 
Alfred  Metzger,  '  Music  News,'  started  by  C.  E. 
Watt  in  Chicago  in  1908,  'The  Musical  Ob- 
server,' issued  since  1910  and  now  edited  by 
Gustav  Saenger,  and  several  of  later  date. 

Genuine  'magazines'  have  been  few. 
'Dwight's  Journal'  belonged  partly  to  this 
class,  especially  in  its  earlier  days.  But  the 
first  serious  enterprise  of  this  kind  was  W.  S.  B. 
Mathews'  '  Music,'  issued  in  Chicago  from  1891 
till  1902,  a  monthly  of  real  distinction,  though 
carried  forwai'd  very  unequally.  With  this 
may  be  mentioned  the  '  Music  Review,'  also 
of  Chicago,  edited  in  1892-94  by  C.  B.  Cady. 
In  1915  came  the  'Musical  Quarterly',  pro- 
jected on  the  broadest  lines  and  brilliantly 
edited  by  O.  G.  Sonneck.  This  not  only  has 
overtopped  anything  attempted  in  America, 
but  takes  rank  as  one  of  the  great  musical 
periodicals  of  the  world. 

Details  regarding  the  rise  of  musical  journal- 
ism in  connection  with  newspapers  and  maga- 
zines of  a  general  character  are  difficult  to 
secure  and  classify.  The  New  York  'Tribune' 
employed  W.  H.  Fry  as  critic  in  1852-63,  fol- 
lowed in  1863-66  by  H.  C.  Watson,  in  1866-84 
by  J.  R.  G.  Hassard  and  since  then  by  H.  E. 
Krehbiel.  This  pattern  was  presently  imitated 
by  other  New  York  papers,  so  that  now  every 
leading  paper  has  its  musical  editor,  the  sig- 
nificant circle  including  H.  E.  Krehbiel,  H.  T. 
Finck,  W.  J.  Henderson,  Richard  Aldrich,  J.  G. 
Huneker,  Lawrence  Gilman  and  many  others. 
Similarly  in  Boston  prominent  names  stand 
out,  like  W.  F.  Apthorp,  L.  C.  Elson,  Philip 
Hale,  H.  T.  Parker,  and  Olin  Downes  ;  while  in 
Chicago  are  Felix  Borowski,  Maurice  Rosenfeld 
and  G.  D.  Gunn.  These  are  but  distinguished 
examples  of  a  large  and  influential  fraternity  the 
country  over.  Under  their  hands  what  had  been 
simply  a  gathering  of  musical  items  and  the  pub- 
lication of  matter  more  or  less  of  the  advertising 
variety  has  become  dignified  by  a  large  amount 
of  eane,  illuminating  and  stimulating  criticism. 


JUBILEE  SINGERS,  THE,  were  a  group 
of  ten  or  twelve  students  in  Fisk  University 
(Tenn.),  trained  in  singing  Negro  songs  and 
organized  to  tour  in  the  interest  of  the  Uni- 
versity. The  first  expedition  in  1871  was  so 
successful,  both  in  raising  money  and  in  arous- 
ing interest  in  Negro  music,  that  it  was  extended 
and  repeated  till  1874,  covering  not  only  many 
parts  of  the  United  States,  but  England  as 
well.  On  the  second  trip  to  England  Theodore 
F.  Seward  was  musical  director.  The  proceeds 
of  the  tours  (about  $150,000)  were  used  in 
erecting  Jubilee  Hall,  the  first  of  the  University 
buildings.  Seward  edited  over  100  songs  under 
the  title  Jubilee  Songs.  See  J.  B.  T.  Marsh, 
The  Story  of  the  Jubilee  Singers,  1895. 

JUCH,  EMMA  ANTONIA  JOANNA  (July 
4,  1865,  Vienna,  Austria),  was  the  daughter  of 
American  parents.  She  was  educated  in  New 
York  and  studied  singing  there  with  Mme. 
Murio-Celli.  Her  concert-d6but  as  soprano 
was  in  1882,  and  in  1883  she  appeared  in  opera 
in  'Mignon'  at  Her  Majesty's  Theatre  in  Lon- 
don. For  three  seasons,  under  Mapleson,  she 
sang  Violetta,  Queen  of  Night  (in  'The  Magic 
Flute'),  Martha,  Marguerite  (in  'Faust'),  The 
Queen  (in  'Les  Huguenots')  and  Isabella  (in 
'Robert  le  Diable').  In  1886-87  she  was  one 
of  the  principal  sopranos  in  the  American 
Opera  Company  under  Thomas.  In  1889  she 
organized  the  Emma  Juch  Grand  Opera  Com- 
pany, which  gave  performances  in  the  United 
States  and  Mexico  for  two  seasons.  She  has 
since  sung  in  concerts  and  festivals,  including 
appearances  with  the  leading  orchestras  and 
choral  societies.  In  addition  to  the  roles  named 
she  has  appeared  as  Aida,  Valentine,  Elsa, 
Elizabeth,  Sieglinde  and  Senta,  and  created 
the  part  of  Chrysa  at  the  first  American  per- 
formance of  Rubinstein's  '  Nero. '     [  R.7  ] 

'JUDITH'.  An  opera  by  George  W. 
Chadwick,  produced  at  the  Worcester  Festival 
in  1901  in  concert-form.  Though  called  a 
'lyric  opera,'  it  is  virtually  an  oratorio. 

JUHAN[  JOAN],  ALEXANDER.  See  Reg- 
ister, 2. 

JUHAN  [JOAN],  JAMES.     See  Register,  1. 

JUNG,  J.  B.  (b.  1848?).     See  Register,  6. 

JJUON,  PAUL  (Mar.  9,  1872,  Moscow, 
Russia).  See  article  in  Vol.  ii.  553-4.  Ho 
settled  in  Berlin  in  1897,  and  since  1906  has 
been  professor  of  composition  at  the  Hoch- 
schule.  Among  his  later  works  are  'Wach- 
terweise,'  op.  31,  for  orchestra,  two  string- 
quintets,  opp.  33,  44,  the  orchestral  suite  'Aua 
einem  Tagebuche,'  op.  35,  a  'Rhapsodie,'  op. 
37,  for  string-trio  and  piano,  an  orchestral 
Serenade,  op.  40,  two  concertos  for  violin  and 
orchestra,  opp.  42,  49,  and  a  piano-quartet, 
op.  50.  He  has  published  Praktische  Harmo- 
nielehre,  1901,  and  a  translation  of  M.  Tchai- 
kovsky's biography  of  his  brother,  1900-04. 


K 


KAEUPER,  HERMANN  H.  See  Col- 
leges, 3  (Millikin  U.,  111.)- 

KAHN,  OTTO  HERMANN  (Feb.  21,  1867, 
Mannheim,  Germany),  came  to  London  in 
1888  as  employe  of  the  Deutsche  Bank  and 
in  1893  a  visit  to  New  York  led  to  permanent 
residence  and  citizenship.  From  1897,  as  a 
member  of  Kuhn,  Loeb  &  Co.,  he  has  partici- 
pated in  many  financial  operations  of  magni- 
tude and  has  become  trustee  and  director  in 
numerous  great  corporations.  Being  himself 
a  musician  of  talent  and  training,  he  has  been 
increasingly  identified  with  musical  under- 
takings. He  has  been  head  of  the  Metropoli- 
tan Opera  Company,  of  the  Theatre  du  Vieux 
Columbier,  of  the  French-American  Associa- 
tion for  Musical  Art  and  (till  1915)  of  the  Cen- 
tury Opera  Company,  and  in  the  directorate 
of  the  Boston  Opera  Company  (1908-15),  the 
Chicago  Opera  Association  and  the  Royal 
Opera,  Covent  Garden,  London.  He  has 
also  been  active  in  countless  other  enterprises. 
His  services  to  the  cause  of  the  Allies  in  the 
World  War  were  recognized  by  high  honors  from 
France,  Italy  and  Spain.  He  is  also  LL.D.  of 
the  University  of  Michigan.     [  R.9  ] 

KANSAS  CITY  SYMPHONY  ORCHES- 
TRA, THE,  was  founded  in  1910  and  from 
1911  supported  by  an  Orchestra  Association, 
formed  through  the  efforts  of  the  Musical  Club. 
Since  1912  a  high  standard  has  been  maintained 
under  the  leadership  of  Carl  Busch.  Seven 
regular  and  six  popular  concerts  are  given  annu- 
ally. The  usual  force  is  65  players,  with  Hein- 
rich  Rittmeister  as  concertmaster.  The  scope 
and  quality  of  the  programs  is  indicated  by 
the  list  of  larger  works,  which  includes 

Symphonies  —  three  of  Mozart,  the  first  five  of 
Beethoven,  two  each  of  Mendelssohn  and 
Schumann,  Raff's  'Lenore,'  Franck's  D  minor, 
Goldmark's  '  Country  Wedding,'  Brahms'  3rd, 
'  Saint-Saena'  3rd,  three  of  Tchaikovsky,  two  of 
Svendsen,  Dvof dk's  '  New  World,'  Stanford's 
'Irish,'  Sibelius'  1st,  two  of  Glazunov,  Mrs. 
Beach's  'Gaelic'  and  Hadley's  4th. 

Symphonic  Poems  —  Liszt's  'Les  Preludes'  and 
'Tasso,'  Smetana's  'Moldau,'  Saint-Saens' 
'Danse  Macabre,'  Olsen's  'Asgaardsreien,' 
Foote's  'Francesca  da  Rimini,'  Bruneau's  'La 
Belle  au  Bois  Dormant,'  Busch's  'Minnehaha's 
Vision'  and  Sibelius'  'Finlandia.' 

Concertos  —  Liszt's  2nd,  Rubinstein's  4th,  Saint- 
Saens'  3rd  for  violin  and  1st  for  'cello,  Bruch's 
1st  for  violin,  Tchaikovsky's  1st,  Grieg's  in  A 
minor,  and  MacDowell's  2nd. 

JKARG-ELERT,  SIGFRID  (Nov.  21, 
1878,  Oberndorf,  Wiirtemberg) ,  when  a  choir- 
boy studied  clarinet,  viola  and  oboe  without 
a  teacher.  Through  Reznicek  he  obtained  a 
three-year  scholarship  at  the  Leipzig  Conser- 
vatory,  where   his   teachers   were  Jadassohn, 


Wendling  and  Homeyer,  and  later  he  entered 
Reisenauer's  'master-class'  for  pianists.  He 
also  devoted  much  time  to  the  organ  and  the 
'Kunstharmonium,'  for  which  he  has  written 
extensively.  His  larger  compositions  are  a 
Passacaglia  in  E-flat  minor,  op.  25,  for  organ ; 
a  Sonata  in  F-sharp  minor,  op.  50,  for  piano ; 
66  Choral-Improvisationen,  op.  65,  for  organ; 
three  organ-pieces,  op.  72  —  '  Harmonies  du 
Soir,'  'Clair  de  Lune'  and  'La  Nuit' ;  a  Cha- 
conne  and  Fugue  Trilogy  with  choral,  op.  73, 
for  organ ;  a  Sonatina,  op.  74,  for  organ  ;  'Ben- 
edictus'  and  'Vom  Himmel  hoch,'  op.  82,  for 
soli,  choir,  violin,  harp  and  organ ;  three  Sjrm- 
phonic  Chorales,  op.  87,  for  organ ;  and  three 
'  Pastelle,'  op.  92,  for  organ.  There  are  be- 
sides numerous  songs,  piano-  and  organ-pieces, 
much  chamber-music  and  many  educational 
works.     See  Baker,  Diet,  of  Musicians,  p.  451. 

KARL,  TOM  (1846-1916).     See  Register,  6. 

t  KASTALSKY,  ALEXANDER  DIMI- 
TRIEVITCH  (Nov.  28, 1856,  Moscow,  Russia), 
graduated  at  the  Moscow  Conservatory  in  1882, 
having  studied  with  Tchaikov.sky,  Hubert  and 
Tanieiev.  In  1887  he  began  to  teach  in  the 
new  Moscow  Synodal  School,  and  in  1901  be- 
came conductor  of  the  Synodal  Choir,  which 
he  gave  an  international  reputation.  He  has 
worked  vigorously  to  revitalize  Russian  church- 
music  and  has  written  much  for  service-use. 
He  has  also  composed  the  a  cappella  oratorio 
'The  Furnace  of  Nabucho,'  for  soli  and  chorus 
(1909)  ;  the  opera  'Clara  Militche'  (1916, 
Moscow)  ;  a  Requiem  for  the  soldiers  of  the 
Allies  (1916)  ;  the  cantata  'Le  Chant  d'figlise' ; 
the  piano-suite  '  En  Georgie ' ;  a  manual  for  self- 
instruction  in  church-music;  and  'De  Temps 
Passes,'  4  vols,  of  restorations  of  ancient  music. 

KAUFMANN,  MAURICE  (b.  1876).  See 
Register,  8. 

KAUN,  HUGO  (Mar.  21,  1863,  Berlin,  Ger- 
many), was  a  precocious  composer,  having 
written  160  pieces  before  he  was  sixteen.  After 
a  year  at  the  Hochschule,  he  studied  piano  with 
the  Raifs  and  composition  with  Kiel.  His  con- 
nection with  American  music  arises  from  his 
having  lived  as  teacher  in  Milwaukee  in  1887- 
1902.  During  this  time  he  left  an  impress  on 
many  talented  pupils  and  his  works  were  often 
given  by  Thomas.  He  has  since  worked  in 
Berlin,  where  in  1912  he  became  member  of 
the  Royal  Academy  of  Arts.  For  list  of  works, 
many  of  large  dimensions,  see  Baker,  Did. 
of  Musicians,  p.  455.     (  R.7  ] 

KEATING,  HENRY  S.  See  Tune-Books, 
1808. 

KfiFER,  PAUL  (b.  1875).     See  Register,  9. 

KELBE,  THEODORE  (b.  1862).  See  Reg- 
ister, 9. 


260 


EDGAR  STILLMAN  KELLEY 


KELLER 


'  KENILWORTH ' 


261 


KELLER,  MATTHIAS  (1813-1875).  See 
Register,  4. 

KELLER,  WALTER  (Feb.  23,  1873,  Chi- 
cago), attended  Baldwin-Wallace  College  in 
Ohio  and  in  1894  graduated  from  the  American 
Conservatory  in  Chicago,  also  studying  with 
Gleason  in  1892-93  and  '96-99.  In  1894-96 
he  was  at  Leipzig,  studying  at  the  Conserva- 
tory and  with  Piutti.  In  1899-1904  he  taught 
at  Northwestern  University,  and  in  1906  joined 
the  staff  of  the  Sherwood  Music  School  in 
Chicago,  of  which  since  1911  he  has  been  direc- 
tor. In  1903-18  he  was  organist  at  St.  Vincent 
de  Paul's,  and  since  1912  has  also  been  dean  of 
music  at  De  Paul  University,  where  he  was 
made  Mus.D.  in  1916.  He  became  a  fellow 
of  the  A.  G.  O.  in  1916,  having  been  dean  of 
the  Illinois  Chapter  in  1914-15.  In  1907  he 
conducted  the  premiere  of  Gleason's  'Otho 
Visconti,'  and  he  now  directs  a  choral  club  at 
Danville,  111.  He  has  written  a  comic  opera, 
the  melodrama  '  Alaric's  Death,'  much  Catholic 
and  Anglican  church-music,  including  organ- 
pieces,  two  canons  for  piano,  and  a  synchronous 
Prelude  and  Fugue,  op.  10,  for  two  pianos 
(Gilbert),  which  is  notable  for  ingenuity  of 
structure.     [  R.8  ] 

KELLEY,  EDGAR  STILLMAN  (Apr.  14, 
1857,  Sparta,  Wis.).  See  article  in  Vol.  ii. 
562-3.  His  San  Francisco  residences  were  in 
1880-86  and  1892-96,  and  in  1886-92  and  1896- 
1900  he  was  in  New  York.  In  1901-02  he  was 
acting-professor  at  the  Yale  School  of  Music 
and  conductor  of  its  orchestral  concerts.  In 
1902-10  he  lived  in  Berlin  and  was  active  as 
a  teacher  of  composition.  Since  1910  he  has 
been  head  of  the  composition-department  in 
the  Cincinnati  Conservatory,  and  has  also 
held  a  fellowship  from  the  Western  College 
for  Women  in  Oxford,  O.  Besides  his  work  as 
teacher  and  composer  he  has  written  many 
critical  articles  and  published  Chopin  the  Com- 
poser, 1913,  an  extremely  able  analysis  of 
structure  and  method.  In  1916  Miami  Uni- 
versity gave  him  the  degree  of  Litt.D.  and  in 
1917  the  University  of  Cincinnati  that  of  LL.D. 

His  music  for  '  Ben  Hur '  was  first  performed 
in  1899  and  has  since  been  given  about  5000 
times  in  English-speaking  coimtries.  Orches- 
tral suites  have  been  made  fi-om  both  this  and 
his  'Macbeth'  music.  His  piano-quintet,  op. 
20,  and  a  string-quartet,  op.  25,  have  been 
much  played  in  America  and  Europe  (both 
published  1907,  Berlin).  His  larger  works  in- 
clude incidental  music  for  Lathrop's  version 
of  'Prometheus  Bound';  Symphony  No.  1, 
'Gulliver  —  his  Voyage  to  Lilliput,'  op.  15, 
with  much  fantastic  humor.  Symphony  No.  2, 
'New  England,'  op.  33,  the  movements  of 
which  bear  mottoes  from  Bradford's  diary  on 
the  '  Mayflower '  (the  third  is  based  on  the  old 
tune  '  China ') ,  which  was  first  given  at  the  Nor- 


folk Festival  of  1913,  the  composer  conducting, 
in  Altenburg,  Germany,  at  the  Liszt  Festival  in 
1914,  and  over  twenty  times  since;  the  pan- 
tomimic suite  for  orchestra  'Alice  in  Wonder- 
land,' first  given  at  the  Norfolk  Festival  of 
1919;  and  a  setting  of  'Pilgrim's  Progress' 
in  the  form  of  a  miracle-play,  which  was  first 
produced  at  the  Cincinnati  Festival  of  1918 
and  recently  repeated  in  New  York.  Among 
his  smaller  works  are  the  songs  'Eldorado' 
and  'Israfel,'  op.  8  (1901),  choral  settings  of 
Whitman's  'My  Captain,'  op.  19,  and  Poe's 
'The  Sleeper,'  op.  21,  no.  7  ;  and  various  piano- 
pieces.  He  has  shown  a  marked  tendency 
to  emphasize  the  spirit  and  sentiment  of  Amer- 
ican life,  not  only  in  his  characteristic  'New 
England '  symphony,  but  in  many  lesser  works. 
Regarding  such  composition  he  has  said  :  '  The 
American  composer  should  apply  the  universal 
principles  of  his  art  to  the  local  and  special 
elements  of  the  subject-matter  as  they  appeal 
to  him,  and  then,  consciously  or  unconsciously, 
manifest  his  individuality,  which  will  involve 
the  expression  of  mental  traits  and  moral  tend- 
encies peculiar  to  his  European  ancestry,  as 
we  find  them  modified  by  the  new  American 
environment.'  See  note  upon  his  work  in  The 
Art  of  Music,  iy.  368-73.     [  R.7  ] 

KELLOGG,  CLARA  LOUISE  (July,  1842, 
Sumterville,  S.  C.  :  May  13,  1916,  New 
Hartford,  Conn.).  See  article  in  Vol.  ii.  563, 
and  her  autobiography,  Memoirs  of  an  Ameri- 
can Prima  Donna,  1913. 

KELLY,  THOMAS  JAMES  (b.  1870). 
See  Register,  7. 

KELSO,  HUGH  ALEXANDER,  Jr.  (Aug. 
26,  1862,  Charleston,  111.),  before  graduating 
from  the  Rice  Collegiate  Institute  in  ISSl 
studied  under  Albert  Beuter  of  Bloomington, 
111.,  and  spent  three  seasons  with  Mathews  in 
Chicago.  In  1883  he  went  to  Sherwood  in 
Boston,  and  remained  his  pupil  or  assistant- 
teacher  for  eleven  years  in  Boston,  New  York 
and  Chicago.  In  1889-93  he  taught  at  Chau- 
tauqua. In  1893,  with  his  wife,  nee  May 
Donally,  a  dramatic  coach,  he  established  the 
Kelso  School  of  Musical  and  Dramatic  Art  in 
Chicago,  of  which  he  is  still  director.  He  has 
given  piano-recitals  in  many  cities  and  has 
lectured  on  piano-playing.  He  is  the  author  of 
The  Psychology  of  Movements  as  Applied  to 
Artistic  Piano-Playing,  1892,  Interpretative 
Technic,  Books  1,  2,  3,  4  and  9,  1898  and  later, 
fifteen  pamphlets  on  The  Analysis  of  Musical 
Form,  and  has  in  manuscript  a  work  on  Em- 
bellishments. He  has  edited  some  works  for 
the  piano  and  written  piano-pieces  and  songs, 
as  yet  unpublished.     [  R.7  J 

KEMP,  ROBERT  (1820-1897).  See  Reg- 
ister, 4. 

'KENILWORTH.'  An  opera  by  Bruno 
Oscar  Klein,  produced  in  1895  at  Hamburg. 


262 


KENNA 


KLEIN 


t    KENNA,  J.     See  Register.  2. 

KENT,  EMANUEL.  See  Tune-Books, 
1812. 

KERNOCHAN,  MARSHALL  RUTGERS 

(b.  1880).     See  Register,  10. 

KESSLER,  LOUWILLIE.  See  Colleges, 
3  (GreenvUle  C,  111.). 

KIHL,  VIGGO  RICHARD  (b.  1882).  See 
Register,  10. 

KILENYI,  EDWARD  (Jan.  25,  1884,  B6- 
kesszentr^ndrds,  Hungary),  had  his  general 
education  mainly  at  Budapest  and  Szarvas. 
Musically  he  was  trained  at  the  Scuola  Musi- 
cale  Nationale  in  Rome,  at  the  Cologne  Con- 
servatory, where  he  had  theory  with  Klauwell, 
and  at  Columbia  University,  where  in  1913  he 
was  Mosenthal  Fellow  and  in  1914  took  his 
A.M.  with  a  thesis  on  'Violin-Music  before 
Corelli.'  At  Columbia  he  was  a  pupil  of 
Rybner  and  Mason.  He  has  composed  a 
string-quartet  (1912),  an  overture  to  a  play 
by  Kleist  (1913),  a  one-act  American  opera, 
'The  Cry  of  the  Wolf '(1916,  with  C.E.Parker), 
'Modern  Variations  on  an  Old  English  Tune,' 
for  violin  and  piano  (1915),  other  violin-pieces 
and  some  humorous  songs.  He  has  written 
upon  modern  music  for  leading  periodicals, 
with  Eleanor  Hague  edited  Spanish- American 
Folk-Songs,  1914,  and  contributed  to  The  Art 
of  Music,  vols.  iii.  and  vii.  1915-16.  [  R.IO  ] 

KILGEN,  GEORGE,  &  SON,  of  St.  Louis, 
is  an  organ-making  business  founded  in  1851 
by  George  Kilgen,  and  till  1873  located  in  New 
York.  In  1885he  was  joined  by  his  son,  Charles 
C.  Kilgen,  the  management  in  recent  years 
passing  to  the  latter's  sons.  The  firm  has  built 
about  1350  organs,  of  which  about  135  have 
three  manuals  or  more. 

KILLEEN,  EARLE  G.  See  Colleges,  3 
(Coe  C,  Iowa). 

KILLEEN,  FREDERIC  THOMAS  (b. 
1880).     See  Colleges,  3  (Ohio  Northern  U.). 

KIMBALL,  JACOB  (1761-1826).  See 
Tune-Books,  1793. 

KIMBALL,  WILLARD  (b.  1854).  See  Reg- 
ister, 6,  and  Colleges  3  (Grinnell  C,  Iowa). 

KIMBALL,  WILLIAM  WALLACE  (1828- 
1904).     See  Register,  4. 

KIMBALL  COMPANY,  THE  W.  W.,  of 
Chicago,  was  founded  in  1857  and  has  devel- 
oped into  one  of  the  largest  makers  of  pianos, 
reed-organs,  pipe-organs  and  accessories  in  the 
country.  Its  output  is  over  30,000  instru- 
ments per  year.  It  holds  high  awards  from 
numerous  expositions.  It  owns  an  extensive 
building,  300-310  South  Wabash  Avenue. 

KIMBROUGH,  HERBERT  (b.  1876).  See 
State  Universities  (Washington  State  C). 

KINDER,  RALPH  (b.  1876).  See  Regis- 
ter, 8. 

KINDLER,  HANS  (b.  1892).  See  Regis- 
ter, 10. 


KINGSLEY,  GEORGE  (1811-1884).  See 
Tune-Books,  1839. 

KINKELDEY,  OTTO  (Nov.  27,  1878,  New 
York) ,  graduated  at  the  College  of  the  City  of 
New  York  in  1898  and  took  his  A.M.  in  1900 
at  New  York  University,  in  1909  also  winning 
a  Ph.D.  from  the  University  of  Berlin.  His 
first  music-study  in  New  York  was  with  Gus- 
tav  Viehl  and  in  1900-02  with  MacDowell. 
In  1902-07  he  was  in  Berlin  under  Radecke, 
Egidi  and  Thiel  at  the  Institute  for  Church 
Music  and  Kretzschmar,  Wolf,  Friedlander 
and  Fleischer  at  the  University.  In  1898-1902 
he  was  organist  at  the  Chapel  of  the  Ascension 
in  New  York  and  in  1903-05  at  the  American 
Church  in  Berlin.  In  1909-14  he  was  con- 
nected with  the  University  of  Breslau,  at  first 
as  instructor  in  organ  and  theory,  lecturer  on 
musicology  and  music-director  and  from  1910 
full  professor.  During  this 'time  he  published 
Orgel  und  Klavier  in  der  Musik  des  16.  Jahr- 
hunderts,  1910,  and  edited  Erlebach's  Harmo- 
nische  Freude  musikalischer  Freunde  for  vols. 
46-47  of  the  Denkmdler  deutscher  Tonkunst, 
1914.  Since  1915  he  has  been  head  of  the 
music-division  of  the  New  York  Public  Library. 
In  1917-19  he  served  as  captain  of  infantry 
at  Camp  Meade,  Madison,  Wis.,  and  Grove 
City,  Pa.,  assigned  to  training-dutJ^     [  R.8  ] 

KLAUSER,  JULIUS  ( 1854-1907) .  See  Reg- 
ister, 6. 

KLAUSER,  KARL  (1823-1906).  See  Reg- 
ister, 4. 

KLEE,  EUGEN  (b.  1869).     See  Register,  8. 

KLEIN,  BRUNO  OSCAR  (June  6,  1858, 
Osnabriick,  Germany  :  June  22,  1911,  New 
York),  the  son  of  the  organist  of  the  Cathedral 
at  Osnabriick,  was  first  trained  by  his  father, 
and  then  spent  two  years  at  the  Munich  Con- 
servatory, studying  counterpoint  with  Rhein- 
berger,  piano  with  Baermann  and  score-reading 
with  Wiillner.  In  1878  he  came  to  America 
and  for  five  years  traveled  as  concert-pianist. 
In  1884-94  he  was  organist  at  St.  Francis  Xa- 
vier's  in  New  York  and  in  1884-1911  head  of 
the  piano-department  at  the  Convent  of  the 
Sacred  Heart.  On  the  recommendation  of 
Joseffy  and  William  Mason,  in  1887-92  he  also 
taught  counterpoint  and  composition  at  the 
National  Conservatory.  In  1904-11  he  was 
organist  at  St.  Ignatius'.  His  grand  opera '  Ken- 
ilworth'  was  produced  at  Hamburg  on  Feb.  13, 
1896,  with  Klafsky  as  Amy  Robsart.  An  over- 
ture and  detached  pieces  for  orchestra;  con- 
cert-pieces for  violin,  piano  or  voice,  with  or- 
chestra ;  six  masses ;  many  piano-pieces  ;  three 
volumes  of  songs,  besides  about  80  published 
separately  —  these  make  up  the  bulk  of  the 
list.  The  Sonata  in  G,  op.  10,  for  violin  and 
piano,  and  the  quintet  for  soprano,  violin, 
'cello,  horn  and  piano  are  regarded  as  represen- 
tative works.     [  R.6  ] 


KLEIN 


KOLAR 


263 


KLEIN,  HERMANN  (b.  1856).  See  Reg- 
ister, 9. 

KLEIN,  KARL  (b.  1884).     See  Register,  9. 

KLEMM,  JOHANN  GOTTLOB  (1690- 
1762).     See  Register,  1. 

KLENGEL,  PAUL  K.  (b.  1854).  See  Reg- 
ister, 8. 

t  KLINDWORTH,  KARL  (Sept.  25,  1830, 
Hanover,  Germany  :  July  or  Aug.,  1916, 
Stolpe,  Germany).     See  article  in  Vol.  ii.  587< 

KNABE,  WILHELM  (1803-1864).  See 
Register,  3. 

KNABE  &  CO.  See  article  in  Vol.  ii.  588. 
In  1908  the  business  was  merged  in  the  Ameri- 
can Piano  Company  of  New  York.  Charles 
Keidel,  Jr.,  was  president  from  1912,  succeeded 
in  1915  by  William  B.  Armstrong.  The  factory 
remains  in  Baltimore.  The  form  of  player- 
piano  used  is  known  as  the  '  Knabe-Ampico.' 

KNEISEL,  FRANZ  (Jan.  26,  1865,  Bu- 
charest, Rumania) .  See  article  in  Vol.  ii.  589. 
While  in  the  Boston  Symphony  Orchestra 
(1891)  he  introduced  in  America  the  concertos 
of  Brahms  and  Goldmark.  In  1907  he  was 
asked  to  serve  on  the  jury  at  the  violin-con- 
cours  of  the  Paris  Conservatory.  The  Kneisel 
Quartet  was  disbanded  in  1917  to  enable  him 
to  devote  himself  to  teaching.  He  is  still  head 
of  the  violin-department  of  the  Institute  of 
Musical  Art  in  New  York.  In  1912,  while 
president  of  the  Bohemians,  he  effected  the 
organization  of  the  Foundation  for  Needy  Mu- 
sicians, a  chartered  society  which  has  accumu- 
lated a  fund  amounting  to  over  $55,000  from 
gifts  and  concerts.  In  1911  he  was  made  Mus. 
D.  by  Yale  University  and  in  1915  also  by 
Princeton  University.  In  1918  he  became  an 
honorary  member  of  the  Harvard  Musical 
Association  in  Boston.  He  has  published  the 
Kneisel  Collection  of  Violin-Pieces  (Church), 
■  Advanced  Exercises  for  the  Violin  (Schirmer) 
and  a  Concert-£tude  (Schirmer),  and,  with 
Bauer,  is  editing  the  Brahms  sonatas.     [  R.7  ] 

KNEISEL  QUARTET,  THE.  See  articles 
in  Vol.  i.  369  and  iii.  369.  In  1917,  owing  to 
Kneisel's  obligations  as  teacher,  it  was  dis- 
banded, the  farewell  concerts  being  on  March 
13  in  Boston  and  April  3  in  New  York.  It  had 
played  for  thirty-two  seasons  in  the  former  city 
and  for  twenty-five  in  the  latter,  besides  tour- 
ing regularly  in  all  parts  of  the  country.  Dur- 
ing the  last  five  years  its  members  had  been 
Franz  Kneisel,  Hans  Letz,  Louis  Svecenski  and 
Willem  Willeke.  The  last  three  gave  concerts 
in  New  York  in  1917-18  with  Kreisler  as  leader. 

KNOCK,  ERNST  (b.  1876).  See  Regis- 
ter, 10. 

KNOETSCHEL  (two  names].  See  Regis- 
ter, 1. 

K0BB£;,  GUSTAV  (Mar.  4,  1857,  New 
York  :  July  27,  1918,  Bay  Shore,  N.  Y.), 
was  educated  in  Wiesbaden  and  at  Columbia 


University,  graduating  in  1877  and  from  the 
Law  School  in  1879.  His  study  of  piano  and 
composition  was  with  Hagen  at  Wiesbaden  and 
Mosenthal  in  New  York.  Devoting  himself 
to  literary  work,  he  was  in  1879-80  editor  of 
'The  Musical  Review'  and  from  1880  music- 
critic  in  succession  for  the  'Sun,'  'World,' 
'Mail  and  Express'  and  'Herald.'  In  1883 
the  'World'  sent  him  as  correspondent  to 
Bayreuth  for  the  first  performance  of  'Parsi- 
fal.' He  published  Wagner's  Life  and  Works, 
2  vols.,  1890  (2nd  ed.,  1896  and  Ring  of 
the  Nibelung  separately,  1889),  Opera-Singers, 
1901  (6th  ed.,  1913),  Loves  of  the  Great  Com- 
posers, 1905,  How  to  Appreciate  Music,  1906, 
Wagner  and  his  Isolde,  1906,  Famous  American 
Songs,  1906,  and  the  novels  Signora,  a  Child 
of  the  Opera-House,  1902,  etc.     (  R.7  ] 

KOELLING,  ADOLPH  (b.  1840) .  See  Reg- 
ister, 6. 

KOEMMENICH,  LOUIS  (Oct.  4,  1866, 
Elberfeld,  Germany),  had  Krause  and  other 
musicians  in  Barmen  for  his  first  teachers  of 
violin,  piano,  singing  and  theory.  Later  he 
studied  with  Kullak,  Pfeiffer,  Hollander  and 
Tappert  at  Kullak's  Academy  in  Berlin.  In 
1890  he  came  to  Brooklyn  to  conduct  the  Sang- 
erbund  and  other  singing-societies,  including 
in  time  the  Junger  Mannerchor  of  Philadelphia 
in  1902-10,  the  New  York  Oratorio  Society  in 
1912-17,  the  Mendelssohn  Glee  Club  in  1913-19, 
the  Beethoven  Society  in  1916,  and  since  1917 
the  New  Choral  Society.  In  1910  he  also  con- 
ducted at  the  German  Theater.  He  directed 
the  first  New  York  performances  of  Hegar's 
'  Manasse,'  Taubmann's  '  Eine  deutsche  Messe,' 
Georg  Schumann's  'Ruth,'  Bossi's  'Jeanne  d' 
Arc,'  and  the  first  New  York  open-air  perform- 
ances of  'Caliban'  and  Verdi's  Requiem. 
His  compositions  include  music  to  '  New  Yorker 
Kinder'  (1894)  ;  'Franz  Schubert'  (1918,  MS.), 
and  the  men's  choruses  with  orchestra,  'Der 
Schmied  und  das  Grafenkind'  (1892),  'The 
Magic  Minstrel'  (1897),  'Morning-Hymn' 
(1908)  and  'To  Madelon'  (1918).  Of  his  nu- 
merous a  cappella  men's  choruses,  '  Wer  weiss 
wo'  took  first  prize  at  the  Brooklyn  Sanger- 
fest  of  1900  and  'Lockung'  the  second  prize  at 
the  New  York  Sangerfest  of  1894.  He  has 
also  written  a  number  of  songs  (Schirmer, 
Leuckardt,  Hug,  Huntzinger).     [  R.8  ] 

KOFLER,  LEO  (1837-1908).  See  Regis- 
ter, 6. 

KOHLER,  FRANZ  (1877-1918).  See  Reg- 
ister, 8. 

KOLAR,  VICTOR  (Feb.  12,  1888,  Buda- 
pest, Hungary),  was  Bohemian  by  descent. 
He  was  a  protege  of  Kubelik  at  Prague  for  six 
years,  during  two  of  which  he  had  lessons  from 
Dvofdk  in  composition,  and  graduated  at  the 
Conservatory  in  1904.  Coming  to  America, 
he  was  at  first  soloist  with  the  Chicago  Or- 


264 


KONIUS 


KRAMER 


chestra  on  a  western  tour  under  Rosenbecker. 
From  1905  he  played  in  the  Pittsburgh  Orches- 
tra under  Paur,  in  1907-19  in  the  New  York 
Symphony  Society,  becoming  assistant-con- 
ductor in  1915,  and  then  became  assistant- 
conductor  of  the  Detroit  Symphony  Orches- 
tra. In  1916  he  conducted  Casals'  first  New 
York  concert,  and  in  1917  directed  the  Red 
Cross  Pageant  at  Huntington,  L.  I.,  and  its 
New  York  repetitions.  He  has  published 
songs,  violin-pieces  and  the  symphonic  suite 
'Americana,'  which  won  the  prize  offered  by 
the  Illinois  Music  Teachers'  Association  (1914, 
New  York  Symphony  Society).  He  has  also 
written  two  symphonic  poems,  '  Hiawatha ' 
(1908,  Pittsburgh  Orchestra)  and  'A  Fairy- 
Tale'  (1913,  N.  Y.  Symphony  Society) ;  a 
'Lyric'  Suite  ('Pastorale,'  'Cortege,'  'Divertis- 
sement') ;  a  Symphony  No.  l,inD  (1916,  N.Y. 
Symphony  Society)  ;  and  a  string-quartet  in 
E  minor  (1917,  Flonzaley  Quartet).     [  R.9  ] 

t  KONIUS,  GEORGE  EDWARDOVITCH 
(Sept.  30,  1862,  Moscow,  Russia).  See  article 
in  Vol.  ii.  595.  He  was  one  of  Scriabin's  earlier 
teachers.  Add  to  list  of  works  the  symphonic 
poem '  La  For^t  Bruisse,'  op.  30  (1896,  Moscow) . 

KORBAY,  FRANCIS  ALEXANDER 
(May  8,  1846,  Budapest,  Hungary  :  Mar. 
9,  1913,  London).  See  article  in  Vol.  ii.  595. 
His  song-recitals  in  America  in  1871-94  did 
much  to  stimulate  interest.  Among  his  pupils 
were  Susan  Strong  and  Lillian  Bailey  (Mrs. 
Henschel).  His  'Hungarian'  Overture  was 
played  in  1912  at  a  Queen's  Hall  concert  in 
London.     [  R.6  ] 

KORN,  CLARA  ANNA,  n6e  Gerlach  (Jan. 
30,  1866,  Berlin,  Germany),  German-American 
in  parentage,  was  brought  to  America  in  in- 
fancy, graduated  at  the  Jersey  City  High 
School  in  1881  and  was  at  first  a  school-teacher. 
In  1891,  gaining  a  scholarship  at  the  National 
Conservatory  at  Tchaikovsky's  recommenda- 
tion, she  studied  with  Dvofdk,  Parker  and 
Klein,  and  in  1893-98  taught  theory  there. 
She  has  published  a  piano-sonata,  an  arrange- 
ment for  two  pianos  of  Tchaikovsky's  'Over- 
ture Solennelle,  1812'  (Jurgenson),  piano-  and 
violin-pieces  and  songs,  and  has  in  manuscript 
an  opera,  'Our  Last  War,'  a  symphony  in  C 
minor,  a  piano-concerto,  some  chamber-music 
and  songs  with  orchestra.  She  has  written 
articles  for  musical  periodicals.     [  R.8  ] 

KORTSCHAK  QUARTET,  THE.  See 
Berkshire  Quartet. 

KOTZSCHMAR,  HERMANN  (July  4, 
1829,  Finsterwalde,  Germany  :  Apr.  12, 
1909,  Portland,  Me.),  having  been  taught  piano 
and  other  instruments  by  his  father  and  by 
Hayne  and  Otto  (composition)  at  Dresden, 
became  a  member  of  a  band  and  the  opera-or- 
chestra there.  In  1848  he  came  to  America 
with  the  Saxonia  Band  and  from  1849  was 


organist  at  the  First  Church  in  Portland  for 
forty-seven  years  and  then  at  the  State  Street 
Church,  beside  conducting  choral  societies. 
He  wrote  some  church-music  and  piano-pieces. 
At  the  dedication  of  the  municipal  organ  in 
Portland,  which  is  his  memorial.  Mr.  C.  H.  K. 
Curtis  of  Philadelphia,  the  donor,  spoke  of  him 
as  'preeminent  as  organist,  composer  and 
teacher,  loved  by  all  classes  for  his  kindly  spirit, 
high  ideals  and  devotion  to  music'      [  R.4  ] 

KRAFT,  EDWIN  ARTHUR  (Jan.  8,  1883, 
New  Haven,  Conn.) ,  had  early  lessons  from  his 
brother,  W.  J.  Kraft  (see  below),  became  or- 
ganist at  fifteen  and  studied  at  the  Yale  School 
of  Music  under  Parker  and  Jepson.  In  1901-04 
he  was  organist  at  St.  Thomas'  in  Brooklyn,  and 
then  studied  further  in  Berlin  with  Grunicke 
and  Kelley  and  at  Paris  with  Guilmant  and 
Widor.  In  1905-07  he  was  organist  at  St. 
Matthew's  in  Wheeling,  W.  Va.,  and  founder 
of  an  oratorio-society,  in  1907-14  organist  at 
Trinity  Cathedral  in  Cleveland,  in  1914-16 
city-organist  at  Atlanta,  and  since  1916  at  the 
Cathedral  in  Cleveland  again.  In  1909  he 
became  fellow  of  the  A.  G.  O.,  and  has  been 
in  request  as  recitalist  throughout  the  United 
States  and  Canada.  Many  organ-works  have 
been  dedicated  to  him.     [  R.8  ] 

KRAFT,  FREDERICK  WILLIAM.  See 
Colleges,  3  (Southwestern  U.,  Tex.). 

KRAFT,  WILLIAM  JACOB  (Sept.  29, 
1872,  New  Haven,  Conn.),  graduated  in  1902 
at  the  Yale  School  of  Music  and  was  Mosen- 
thal  Fellow  at  Columbia  University  in  1904, 
besides  becoming  a  fellow  of  the  A.  G.  O.  in 
1903.  He  has  been  continuously  organist  at 
various  churches,  in  1905-15  was  organist  at 
the  summer-school  of  Columbia  University, 
for  a  time  taught  in  the  New  York  public  schools 
and  since  1912  has  been  associate-professor  at 
Teachers  College.  In  1919  he  composed  and 
arranged  the  music  for  the  pageant '  The  Way- 
farer,' given  at  the  Methodist  Centenary  at 
Columbus  and  repeated  in  New  York.  He  has 
published  songs  and  anthems  and  has  an  orches- 
tral scherzo,  songs  and  other  pieces  in  manu- 
script. With  C.  H.  Farnsworth  he  has  published 
The  Tonal  Phrasc-Book,  1915.     [  R.8  ] 

KRAMER,  ARTHUR  WALTER  (Sept.  23, 
1890,  New  York),  was  educated  in  the  New 
York  public  schools  and  at  the  College  of  the 
City  of  New  York,  graduating  in  1910.  Music 
he  began  under  his  father,  Maximilian  Kramer, 
studying  first  the  violin,  which  he  continued 
under  Hauser  and  Arnold.  In  composition  he 
is  largely  self-taught.  Since  1910  he  has  been 
on  the  staf?  of  '  Musical  America.'  He  wrote 
on  'The  Modern  Italians'  for  The  Art  of  Music, 
1916.  His  compositions  have  found  favor  with 
soloists,  choral  societies  and  orchestras. 
Among  those  not  yet  published  are  two  '  Sym- 
phonic Sketches,'  op.  16,  a  'Symphonic  Rhap- 


HENRY  E.  KREHBIEL 


KRAUS 


KRIENS 


265 


sody'  in  F  minor,  op.  35,  for  violin  and  orches- 
tra, two  'Sketches'  for  orchestra,  op.  37a,  a 
string-suite,  op.  12,  a  string-quartet,  op.  23, 
and  the  choral  scene  'The  Hour  of  Prayer,' 
op. 36,  no.  4,  for  baritone,  chorus  and  orchestra. 
His  published  works  include  the  following: 

Songs  —  'Allah,'   'I   dreamed  and  wept  a-dream- 

ing,'    'A   Sigh,'    'Come   to    Me,'    'Two   Sappho 

Fragments,'     'Dark     and     Wondrous     Night,' 

'Tears,'  'O  Perfect  Love'  (Ditson). 

'For  a  Dream's  Sake,'  'There  is  a  garden  in  her 
face,'  'A  Christmas-Carol,'  'Of  the  Robin  and 
the  Master,'  'Joy,'  'Eternal  May  '  (J.  Fischer). 

'That  Perfect  Hour,'  'The  Indian  Serenade,' 
'The  Stirrup-Cup'  (Huntzinger). 

'A  Nocturne,'  'The  Return  of  Spring,'  'The  Last 
Hour'  (Church). 

'The  Relief,'  'Bes'  ob  AH'  (Schurmer). 

'Swans'  (Ricordi). 

'Mother  o'  Mine,'  'We  Two,'  'I  shall  Awake' 
(Carl  Fischer). 

'Green'  (Boston  Music  Co.). 

'A  Lover's  Litany'  (White-Smith). 

'At  Sunset,'  'A  Death-Song'  (Thompson). 

'The  shadows  gain  upon  the  light'  (Presser). 

'A  Phantasy,'  'In  Explanation'  (Bryant). 
'A  Christmas-Carol,'  for  chorus  (J.  Fischer). 
'The  Holy  City  of  my  Saviour's  Grace,'  for  chorus 

(Church). 
'The  Passing  Hours,'  for  chorus  a  cappella  (Ditson). 
'Mirage'  (Ditson),  'When  I  Dwelt  in  Arcady'  and 

'At  Morning'   (Church),   'There  is  a  garden  in 

her  face'  (J.  Fischer),  all  for  women's  chorus. 
'Old   English    Song'    (White-Smith),    'Of   all    the 

dreams  men  dream'    (Boston   Music  Co.),   for 

men's  chorus. 
'Pastorale  Rfiligieuse'  in  D-flat,  for  organ  (White-» 

Smith). 
'Night-Song '(Gray)  and  'Morning-Song'  (Ditson), 

for  organ. 
Concert-Prelude  in  D  minor,  for  organ  (Church). 
'In  Elizabethan  Days,'  for  violin  (Carl  Fischer). 
'Chant  NSgre,'  for  violin  (Schirmer). 
'Intermdde  Arabe,'  for  violin  (Ditson). 
Elegy  in  G  minor,  for  violin  (Boston  Music  Co.). 
'Danse  Espagnole,'  for  violin  (Hauser). 
'Eklog,'  for  violin  (Schmidt). 

Two  Gavottes  for  violin  (Carl  Fischer,  Witmark). 
Elegy  for  string-quartet  (Boston  Music  Co.). 
Intermezzo  for  piano  (J.  Fischer). 
Three  Preludes  for  piano  (Ditson). 
'Rhapsody'  and  '  Valse  Triste,'  for  piano  (Church). 
Romance  in  A-fiat  for  piano  (Carl  Fischer). 
(Several  of  the  above  are  also  adapted  to  other 

instruments.)  [  R.IO  ] 

KRAUS,  ADRIENNE,  n6e  Osborne  [Eis- 
bein]  (b.  1873).    See  Register,  9. 

KRAUSS,  ARNOLD  (b.  1866).  See  Regis- 
ter, 8. 

KREHBIEL,  HENRY  EDWARD  (Mar. 
10,  1854,  Ann  Arbor,  Mich.).  See  article  in 
Vol.  ii.  599.  He  was  associate-editor,  for 
American  topics,  of  the  second  edition  of  this 
Dictionary.  He  is  still  musical  editor  of  the 
New  York  'Tribune,'  and  has  added  the  fol- 
lowing books  to  his  list :  Chapters  of  Opera, 
1908  (2nd  ed.,  1911),  A  Book  of  Operas,  1911, 
The  Pianoforte  and  its  Music,  1911,  A  Second 
Book  of  Operas,  1917,  Afro-American  Folk- 
Songs,   1914,  More  Chapters  of  Opera,    1919, 


and  an  English  version  of  'Parsifal,'  1920. 
His  position  as  Nestor  among  music-critics,  his 
wide  culture  and  experience,  and  his  geniality 
of  spirit  and  literary  style,  have  given  him  more 
or  less  unique  authority  and  influence.  His 
long-awaited  edition  of  Thayer's  Life  of  Bee- 
thoven was  finished  in  1914,  but  publication  has 
been  delayed  by  war-conditions.  This  is  based 
on  the  German  editions  and  Thayer's  original 
text,  revised,  annotated  and  with  added  con- 
cluding chapters.  See  his  article  on  Thayer 
and  his  work  in  'The  Musical  Quarterly,' 
October,  1917.     [  R.6  ] 

KREINER,  EDWARD  (b.  1890).  See  Reg- 
ister, 10. 

KREISLER,  FRITZ  (Feb.  2,  1875,  Vienna, 
Austria).  See  article  in  Vol.  ii.  599-600.  At 
the  outbreak  of  the  war  he  reentered  the 
Austrian  army  and  was  wounded  in  the 
Galician  campaign  of  1914.  In  1915  he  came 
again  to  America  and  has  since  been  active  in 
concert.  His  compositions  for  violin  and  piano 
are  'Romance,'  'Caprice  Viennois,'  'Tam- 
bourin  Chinois,'  'Recitativo  and  Scherzo 
Caprice'  (violin  alone),  'Berceuse  Roman- 
tique,'  'Rondino'  (on  a  theme  by  Beethoven), 
'Polichinelle,'  'La  Gitana'  (18th-century 
Arab-Spanish  Gipsy-Song),  'Aucassin  and 
Nicolette,'  and  'Toy  Soldier's  March'  (all 
Carl  Fischer).  A  string-quartet  (1919,  Letz 
Quartet,  in  New  York)  is  announced  for 
publication,  and  a  comic  opera  '  The  Marriage- 
Knot'  was  brought  out  in  1919.  Many  of  hia 
transcriptions  of  classic  and  modern  works  are 
published  by  Carl  Fischer.     [  R.7  ] 

KREISSMANN,  AUGUST  (1823-1879). 
See  Register,  4. 

KRELL,  ALBERT  (1833-1900).  See  Reg- 
ister, 4. 

KRIENS,  CHRISTIAAN  PIETER  WIL- 
LEM  (Apr.  29,  1881,  Amsterdam,  Holland), 
was  the  son  of  an  orchestral  conductor  and 
early  took  up  violin,  piano  and  theory.  He 
studied  at  the  Hague  Conservatory  and  won 
a  gold  medal  there  in  1895.  The  same  year 
he  made  his  debut  with  his  father's  orchestra 
in  Amsterdam,  conducting  his  own  2nd 
symphony  and  playing  the  Beethoven  violin- 
concerto  and  piano-concerto  in  E-flat.  He 
then  toured  France,  Holland  and  Belgium  aa 
violinist,  and  came  to  America  in  1906  as 
conductor  of  the  French  Opera  Company  in 
New  Orleans.  Since  1907  he  has  been  teacher 
and  conductor  in  New  York.  In  1911  he  started 
a  Quartet  and  in  1912  a  Symphony  Club,  mainly 
to  afford  training  for  young  players,  which  has 
become  large  and  effective.  About  eighty  of 
his  works  are  published  here  (Schirmer,  Carl 
Fischer,  Presser)  and  abroad.  The  list  includes 
two  symphonies,  in  C  and  F;  the  orchestral 
suite  'In Holland'  (Concertgebouw,  Lamoureux 
and  Metropolitan  Opera  House  Orchestras) ;  a 


266 


KRITCH 


KUZDO 


string-quartet  in  B-flat  minor ;  two  sonatas  for 
violin  and  piano ;  the  symphonic  poem  '  Les 
Rois  en  Exile ' ;  many  pieces  for  piano  and 
violin  and  piano  ;  and  songs.     [  R.9  ] 

KRITCH,  WILLIAM  E.  See  Colleges, 
3  (Illinois  C). 

KROEGER,  ERNEST  RICHARD  (Aug. 
10,  1862,  St.  Louis),  began  music  with  his 
father,  Adolph  E.  Kroeger,  and  later  studied 
piano  with  Egmont  Froelich,  Waldemar 
Malmene  and  Charles  Kunkel,  theory  with 
W.  Colder  and  P.  G.  Anton,  violin  with 
Spiering  and  instrumentation  with  L.  Mayer 
—  all  of  St.  Louis.  He  has  been  organist  at 
various  churches,  at  present  at  the  Church  of 
the  Messiah  (Unitarian),  and  was  a  founder 
of  the  A.  G.  O.  Since  1887  he  has  been  music- 
director  at  Forest  Park  University,  and  since 
1904  also  head  of  the  Kroeger  School  of  Music. 
In  1893-1903  he  conducted  the  Morning 
Choral  Club  and  in  1910-12  the  Amphion 
Club.  In  1904  he  had  charge  of  the  music- 
programs  at  the  Louisiana  Purchase  Ex- 
position. In  1896  he  was  president  of  the 
M.  T.  N.  A.  and  in  1897-99  of  the  Missouri 
Association.  In  1915  he  played  organ-recitals 
at  the  Panama-Pacific  Exposition  and  gave 
instrumental  courses  at  the  University  of 
California.  He  has  also  had  similar  courses 
at  Cornell  University.  Since  1904  he  has 
been  a  member  of  the  French  Academy  and 
since  1915  of  the  National  Institute  of  Arts 
and  Letters.  For  many  years  he  has  given 
series  of  piano-recitals  in  St.  Louis,  as  well  as 
many  in  all  parts  of  the  United  States.  He  has 
been  peculiarly  successful  with  lecture-recitals. 
His  repertoire  includes  over  700  works.  Among 
his  compositions  are  the  following  : 

Overtures  —  'Endymion'  (Ithaca),  'Thanatopsis' 
(St.  Louis),  'Hiawatha'  (Omaha),  'Sardanapalus' 
(New  York),  'Atala'  and  'Pittoresque.' 

Scherzo  in  D  minor  and  'March  of  the  Pioneers' 
(both  St.  Louis  Symphony  Orchestra). 

'March  of  the  Indian  Phantoms'  and  the  Suite 
'Lalla  Rookh'  (both  Louisiana  Exposition). 

Quartet  in  D  minor,  for  piano  and  strings  (1889, 
Philadelphia). 

Quintet  in  F  minor,  for  piano  and  strings  (1890, 
Detroit). 

Trio  in  E  minor,  for  piano,  violin  and  'cello  (1891, 
Cleveland). 

Quartet  in  D  minor,  for  strings  (1914,  St.  Louis). 

Sonata  in  F-sharp  minor,  for  violin  and  piano 
(1908,  St.  Louis). 

Romanza  in  B-flat,  for  'cello  and  piano. 

Reverie  in  D  minor,  for  violin  and  piano. 

'A  Masque  of  Dead  Florentines,'  for  recitation 
or  action  (1911,  St.  Louis). 

About  175  works  for  piano,  including  'Fantasie- 
Polonaise'  in  E-flat,  op.  26,  12  Concert-Etudes, 
op.  30,  Suite,  op.  33,  Sonata  in  D-flat,  op.  40, 
Scherzo  in  E-flat  minor,  op.  45,  '16  Variations 
on  an  Elegiac  Theme'  in  B  minor,  op.  54,  etc. 

For  the  organ  — '3  Introduction  and  Fugues,  opp. 
27,  56,  77,  'Oriental  Scenes,'  op.  37,  'Marche 
Pittoresque'  in  D-flat,  and  'ScSne  Persane' 
(with  piano). 


Over  80  separate  songs  and  the  cycle  '  Memory,' 
op.  66,  besides  many  other  vocal  works,  secular 
and  sacred. 

KRONOLD,  HANS  (July  3,  1872,  Cracow, 
Poland),  had  his  general  education  in  Leipzig, 
where  he  took  up  'cello  with  Kiesling.  During 
three  years  in  Berlin  he  studied  'cello  with 
Vollrath,  piano  and  harmony  with  Hans 
Rasch.  In  1886  he  came  to  New  York  and 
continued  'cello-study  with  Hekking.  For 
five  seasons  he  played  in  the  New  York 
Symphony  Society,  but  since  1900  has  devoted 
himself  to  solo-playing  and  teaching.  He 
has  toured  with  leading  singers,  and  with 
Maud  Powell  and  other  instrumentalists. 
For  many  years  he  has  played  at  Sunday 
evening  services  at  All  Angels'  Church.  He 
has  published  pieces  for  'cello  and  piano  and 
for  violin  and  piano,  and  songs  (Ditson,  Carl 
Fischer,  Witmark).     [  R.7  ] 

KUNITS,  LUIGI  VON  (July  30,  1870, 
Vienna,  Austria),  graduated  from  the  Uni- 
versity of  Vienna  in  law  and  classical  philology. 
He  studied  violin  with  Krai,  Gruen  and 
Sevcik,  music-history  with  Hanslick  and 
composition  with  Jacksch  and  Bruckner. 
For  a  time  he  led  the  string-quartet  of  the 
Tonkilnstlerverein.  In  1893  he  came  to 
America  as  assistant-conductor  and  concert- 
master  of  the  Austrian  Orchestra  at  the 
Columbian  Exposition  in  Chicago,  where  later 
he  taught  violin  and  composition  and  organized 
a  string-quartet.  In  1896-1910  he  was 
concertmaster  of  the  Pittsburgh  Orchestra. 
Many  solo  appearances  added  to  his  reputation 
as  a  player,  and  he  also  conducted  series  of 
string-quartet  concerts  and  taught  at  the 
Pittsburgh  Conservatory  and  later  in  his  own 
school.  In  1910-12  he  was  again  in  Vienna 
as  professor  in  the  Patonay  Conservatory  and 
as  soloist  and  conductor.  Since  1912  he  has 
been  professor  in  the  Canadian  Academy  of 
Music  at  Toronto  and  leader  of  the  Academy 
String-Quartet.  In  1915  he  founded  'The 
Canadian  Journal  of  Music'  and  became 
conductor  of  the  Toronto  Symphony  Band. 
His  compositions  include  two  violin-concertos, 
a  string-quartet  in  D  minor,  violin-pieces  and 
6tudes  (Schirmer,  Carl  Fischer),  songs  and 
choruses.  He  has  written  The  Hero  as  Mu- 
sician —  Beethoven,  1913,  and  many  articles 
in  musical  journals.     [  R.8  ] 

KUNKEL,  CHARLES  (b.  1840)  and 
JACOB  (1846-1882).     See  Register,  5. 

KUNWALD,  ERNST  (b.  1868).  See  Reg- 
ister, 10. 

KURSTEINER,  JEAN  PAUL  (b.  1864). 
See  Register,  8. 

KURT,  MELANIE  (b.  1880).  See  Regis- 
ter, 10. 

KUZDO,  VICTOR  (b.  1869).  See  Regis- 
ter, 7. 


LACHMUND,  CARL  VALENTINE  (Mar. 
27,  1857,  Booneville,  Mo.),  studied  with  Hiller, 
Jensen,  Seiss  and  Gernsheim  at  the  Cologne 
Conservatory,  then  with  Moszkowski,  Kiel 
and  the  brothers  Scharwenka  at  Berlin,  and 
in  1881-84  with  Liszt  at  Weimar.  He  taught 
for  a  time  in  the  Scharwenka  Conservatory, 
Berlin,  in  Minneapolis,  and  since  1891  in  New 
York.  He  made  tours  in  1880  with  Wilhelmj 
and  in  1887  with  Marianne  Brandt.  In  1896 
he  founded  the  Women's  String  Orchestra 
Society  of  New  York  and  conducted  it  for 
twelve  consecutive  seasons.  He  has  composed 
two  overtures  for  orchestra  (the  'Japanese' 
played  by  Thomas,  Seidl  and  Neuendorff), 
an  'Italian  Suite'  for  orchestra,  a  trio  for 
harp,  violin  and  'cello,  and  other  instrmnental 
works.  Recent  pieces  for  piano  are  a  'Valse- 
Impromptu'  (Schuberth)  and  a  'Woodland 
Lullaby'  (Church),  and  two  airs  de  ballet 
for  orchestra,  'La  Capricieuse'  and  'Coquet- 
terie.'  A  comic  operetta,  'Narrowly  Averted,' 
is  nearing  completion.     [  R.7  ] 

LA  FLESCHE,  FRANCIS  (b.  I860?). 
See  Register,  8. 

LA  FORGE,  FRANK  (Oct.  22,  1879, 
Rockford,  111.),  early  evinced  talent  for 
composition.  His  first  studies  were  with 
his  sister  Ruth  LaForge  Hall,  a  gifted  pianist, 
who  guided  him  until  he  was  seventeen. 
Following  this  came  four  years  of  study  with 
Wild  in  Chicago  and  four  with  Leschetizky 
in  Vienna  and  with  Labor  and  Navrdtil  (com- 
position). He  gained  prominence  at  first  by 
accompanying  singers  without  notes,  which 
has  been  his  constant  practice.  After  several 
seasons  with  Mme.  Gadski  he  became  pianist 
for  Mme.  Sembrich,  and  for  six  years  they 
toured  the  musical  world,  giving  concerts  in 
all  the  great  cities.  Further  tours  were  made 
with  Mmes.  Alda,  Matzenauer  and  Schumann- 
Heink.  His  principal  songs  are  'Retreat,' 
'To  a  Messenger,'  'I  came  with  a  Song,' 
'When  your  dear  hands,'  'Before  the  Crucifix,' 
'Expectancy,'  'By  the  Lake,'  'Supplication,' 
'A  Song  of  the  Open'  and  'Longing.'  His 
piano-compositions  include  a  Valse  de  Concert, 
Gavotte,  Gavotte  and  Musette,  and  Im- 
provisation. He  lives  in  New  York,  devoting 
himself  to  teaching  when  not  on  tour.      [  R.9  ] 

LAHEE,  HENRY  CHARLES  (b.  1856). 
See  Register,  7. 

LAHSER,  CONRAD  (b.  1872).  See  Col- 
leges, 2  (Greensboro  C,  N.  C). 

L'ALLEMAND,  PAULINE  (1862?-  ?  ). 
See  Register,  7. 

LAMBERT,  ALEXANDER  (Nov.  1,  1862, 
Warsaw,  Poland),  having  begun  piano-study 
with  his  father  at  nine,  was  sent  at  twelve  to 


the  Vienna  Conservatory,  with  letters  from 
Rubinstein  and  Leschetizky.  He  graduated 
there  in  1879  with  high  honors,  having  pur- 
sued piano  with  Epstein  and  composition 
with  Bruckner.  He  continued  alone  for  three 
years  and  then  went  to  Liszt  at  Weimar. 
From  1883,  besides  teaching  at  the  Berlin 
Neue  Akademie,  he  concertized  in  Germany 
with  Joachim,  appeared  in  Berlin  with  the 
Philharmonic  and  Symphony  Orchestras, 
gave  many  recitals  and  made  a  tour  of  Russia 
with  Sarasate.  He  had  visited  America  in 
1880 ;  in  1884  he  returned,  and  appeared  with 
much  success  with  orchestras  in  Boston, 
New  York  and  other  cities,  and  gave  recitals 
extensively.  In  1887  he  became  director  of 
the  New  York  College  of  Music,  which  position 
he  held  till  1905,  resigning  to  teach  privately. 
Among  his  published  compositions  for  piano 
are  an  Etude-Bourr6e,  Tarantelle,  Valse 
Impromptu  and  Mazurka.  His  educational 
works,  which  are  much  used,  are  a  Piano- 
Method  for  Beginners  (Schirmer)  and  A 
Systematic  Course  of  Studies,  3  vols.,  1907. 
[  R.7  ] 

LAMBORD,  BENJAMIN  (June  10,  1879, 
Portland,  Me.  :  June  6,  1915,  Lake  Hopat- 
cong,  N.  J.),  studied  first  with  Arthur  Whiting 
in  Boston,  from  1897  with  MacDowell  at 
Columbia  University  and  from  1902  took  up 
composition  and  orchestration  with  Rybner. 
In  1904-14  he  was  organist  at  Kingsbridge, 
but  in  1905-06  went  abroad  on  a  Mosenthal 
scholarship  and  in  1910  had  work  in  or- 
chestration under  Vidal  at  Paris.  At  his 
death  he  was  just  entering  upon  work  at  the 
West  End  Presbyterian  Church.  In  1912  he 
founded  the  Lambord  Choral  Society,  to  give 
new  works,  especially  by  Americans,  which 
in  1914  became  the  Modem  Music  Society  and 
undertook  orchestral  works  as  well.  Hia 
works  include  15  songs,  opp.  1,  3,  4,  7,  10  (the 
last  with  orchestra)  ;  part-songs,  op.  2 ;  a 
piano-trio,  op.  5;  'Valse  Fantastique,'  op.  6, 
for  piano ;  Introduction  and  Variations  on 
an  English  dance-theme,  op.  8,  for  orchestra; 
and  'Verses  from  Omar,'  op.  11,  for  chorus 
and  orchestra.  The  song  'Clytie,'  op.  10,  no. 
2,  is  an  example  of  his  best  work.  He  had 
completed  two  acts  of  the  opera  'Woodstock,' 
published  'Ten  Lyric  Studies'  for  piano,  and 
edited  'The  Orchestra  and  Orchestral  Music' 
in  The  Art  of  Music,  Vol.  viii.     [  R.9  ] 

LAMONT,  FORREST  (b.  1889).  See  Reg- 
ister, 10. 

LAMPERT,  CARL  ALBERT.  See  State 
Universities  (Ky.). 

'  LAND  OF  HAPPINESS,  THE.'  A  music- 
drama,  No.  15  of  the  'Grove-Plays'  of  the  San 


267 


268 


LANDSBURY 


LAVALLfiE 


Francisco  Bohemian  Club,  produced  in  1917. 
The  text  is  by  Charles  Templeton  Crocker  and 
the  music  by  Joseph  D.  Redding.  The  action 
is  laid  in  China  in  legendary  times. 

LANDSBURY,  JOHN  J.  See  State  Uni- 
VEnsiTiEs  (Ore.). 

LANG,  BENJAMIN  JOHNSON  (Dec.  28, 
1837,  Salem,  Mass.  :  Apr.  3,  1909,  Boston). 
See  article  in  Vol.  ii.  631-2.  The  last  concert 
of  the  Cecilia  Society  which  he  conducted 
was  on  Apr.  16,  1907,  when  Piern§'s  'The 
Children's  Crusade'  was  given.  He  was 
organist  of  King's  Chapel  from  1885  until 
his  death.  His  last  appearance  as  conductor 
was  on  Feb.  12,  1909,  when  he  led  the  Boston 
Symphony  Orchestra  and  a  chorus  at  a  Lincoln 
Memorial  service  in  Symphony  Hall.  At 
the  Boston  Symphony  Orchestra  concerts 
of  Apr.  8  and  10,  1909,  Mozart's  Masonic 
funeral-music  was  played  in  his  memory. 
Among  his  pupils  were  his  daughter  (see 
below),  Arthur  Foote,  W.  F.  Ap thorp  and 
Ethelbert  Nevin.     [  R.4  ] 

LANG,  HENRY  ALBERT  (Oct.  9,  1854, 
New  Orleans),  graduated  from  the  Stuttgart 
Conservatory  in  1875,  having  studied  piano 
with  Lebert  and  Pruckner  and  composition 
with  Faiszt.  He  then  continued  composition 
with  Lachner  in  Karlsruhe,  taught  there  and 
at  Riga  and  Konigsberg,  and  till  1890  gave 
Bome  concerts.  For  a  year  he  lived  in  Gal- 
veston, Tex.,  but  since  1891  has  made  his 
home  in  Philadelphia.  Since  1913  he  has  been 
head  of  the  theory-department  of  the  Phila- 
delphia Conservatory,  which  gave  him  the 
degree  of  Mus.D.  in  1911.  His  compositions 
include  Symphony  No.  1,  'Fantasies  of  a 
Poet'  (1914,  Philadelphia  Orchestra),  Sym- 
phony No.  2,  in  C  minor  (1915  first  prize, 
Illinois  Music  Teachers'  Association),  the 
orchestral  suite  'Fantastic  Dances,'  a  piano- 
trio  in  E  major  (1911,  first  prize  for  chamber- 
music.  National  Federation  of  Music  Clubs), 
a  piano-trio  in  C  minor,  a  concerto  for  violin 
and  orchestra,  a  sonata  for  'cello,  a  piano- 
quintet  in  B-flat  (1894,  first  prize,  Utopian 
Club,  Philadelphia),  two  string-quartets  (1898, 
prizes.  New  York  Music  Teachers'  Associa- 
tion, and  1913,  Sinfonia),  songs  and  piano- 
pieces.     [  R.8  ] 

LANG,  MARGARET  RUTHVEN  (Nov. 
27,  1867,  Boston).  See  article  in  Vol.  ii.  632. 
Among  recent  compositions  are  a  Te  Deum 
in  E-flat,  a  'Christmas  Cycle'  for  quartet, 
and  the  double  a  cappella  chorus  'Wind.'  The 
carol  'In  Prajsepio,'  for  mixed  chorus,  has  been 
much  sung,  and  'The  Heavenly  Noel,'  op. 
67  (Schmidt),  for  mezzo-soprano,  women's 
chorus,  strings,  harp,  piano  and  organ,  is  one 
of  the  most  valuable  recent  works  for  women's 
voices.  She  has  been  fortunate  in  her  choice 
cf  texts  for  songs  and  choral  works,  and  her 


settings  show  strong  individuality,  with  a  wel- 
come absence  of  haste.     [  R.8  ] 

LANGDON,  CHAUNCEY  (1764r-1830). 
See  Tune-Books,  1786. 

LANGDON,  WILLIAM  GHAUNCY  (b. 
1871).     See  Register,  10. 

LANGE,  DANIEL  DE  (1841-1918).  See 
Vol.  ii.  633,  and  Register,  10. 

LANGENUS,  GUSTAVE  (b.  1883).  See 
Register,  9. 

LANHAM,  McCALL  (b.  1877).  See  Regis- 
ter, 9. 

LANIER,  SIDNEY  (Feb.  3,  1842,  Macon, 
Ga.  :  Sept.  7,  1881,  Lynn,  N.  C),  famous 
as  one  of  the  most  spontaneous  and  mystically 
gifted  of  American  poets,  touched  music  in 
three  ways.  From  childhood  he  showed  a 
phenomenal  instinct  in  appreciation  and 
expression,  developing  such  technical  skill 
as  to  serve  with  distinction  as  first  flutist 
(from  1873)  in  the  Peabody  Symphony  Or- 
chestra of  Baltimore,  and  becoming  recognized 
there  for  his  sympathetic  critical  acumen. 
For  years,  also,  at  length  as  lecturer  at  Johns 
Hopkins  University,  he  made  careful  studies 
in  the  musical  aspects  of  poetic  technique, 
publishing  a  lucid  and  able  Science  of  Eng- 
lish Verse,  1881,  which  remains  a  stimulating 
contribution  to  a  neglected  subject.  And, 
finally,  his  poems  contain  numerous  passages 
about  music  or  couched  in  musical  imagery 
—  among  whole  poems  being  'To  Wagner', 
(1877)  and" To  Beethoven'  (1876-77),  and  the 
most  sustained  and  characteristic  use  of 
musical  analogies  occurring  in  'Life  and  Song' 
(1868)  and  especially  'The  Symphony'  (1875). 
He  was  invited  to  write  the  text  for  the  opening 
cantata  at  the  Centennial  Exposition  (Phila- 
delphia, 1876),  the  music  being  composed  by 
Dudley  Buck.  All  his  permanent  work  was 
done  while  in  a  losing  fight  with  consumption. 
See  his  Letters,  1881,  the  Memorial  prefixed 
to  his  Poems,  1884,  and  the  biography  by 
Mims,  1905,  especially  the  remarkable  chapter 
'A  Musician  in  Baltimore.'     [  R.6  ] 

LANKOW,  ANNA  (1850-1908).  See  Reg- 
ister, 7. 

LA  ROSS,  EARLE  DOUGLASS  (b.  1887). 
See  Register,  9. 

LAUCELLA,  NICOLA  (b.:i882) .  See  Reg- 
ister, 9. 

LAVALL£;E,  CALIXA  (Dec.  28,  1842, 
Verch^res,  Que.  :  Jan.  21,  1891,  Boston), 
had  piano-lessons  from  his  father  and  appeared 
in  public  at  ten.  At  fifteen  he  entered  the 
Paris  Conservatory,  studying  piano  with 
Marmontel  and  instrumentation  with  Bazin 
and  Boieldieu.  In  1881  he  made  a  concert- 
tour  of  the  United  States  with  Mme.  Gerster. 
He  attempted  to  start  a  conservatory  in 
Quebec,  and  then  located  in  Boston,  where 
at  the  time  of  his  death  he  was  teaching  in 


LAVIGNAC 


'LEONORA! 


269 


the  Petersilea  Academy.  He  was  active  in 
the  promotion  of  music  by  Americans  and 
was  president  of  the  M.T.N.A.  in  1887. 
Of  his  compositions  two  are  still  popular, 
the  piano-§tude  'The  Butterfly,'  op.  10,  and 
the  Canadian  national  song  'O  Canada.' 
He  also  composed  two  operas,  an  oratorio, 
a  cantata,  a  symphony,  two  suites  for  or- 
chestra, two  string-quartets,  a  piano-trio, 
a  suite  for  'cello  and  piano,  a  sonata  for  violin 
and  piano,  many  piano-pieces  and  some  church- 
music.     [  R.5  ] 

t  LAVIGNAC,  ALEXANDRE  JEAN  AL- 
BERT (Jan.  22,  184G,  Paris  :  April,  1916, 
Paris).  See  article  in  Vol.  ii.  654.  To  the  list 
of  works  add  Les  Gattis  du  Conservatoire,  1900, 
L'Education  Musicale,  1902  (English  trans,  by 
Esther  Singleton,  1903)  and  Notions  Scolaires 
de  Musique,  1905.  He  was  editor-in-chief  of 
the  great  Encyclop&die  de  la  Musique  et  Dic- 
Honnaire  du  Conservatoire. 

LAW,  ANDREW  (1748-1821).  See  Regis- 
ter, 2,  and  Tune-Books,  1778. 

LAWRENCE,  FREDERICK.  See  State 
Universities  (111.) 

LAWRENCE,  ROBERT.  See  State  Uni- 
versities (Ala.). 

LAYTON,  JOSEPH  E.  See  Colleges,  3 
(Missouri  Wesley  an  C). 

LEAVITT,  JOSHUA  (1794-1873).  See 
Tune-Books,  1831. 

LEAVITT,  W.  J.  D.  (1841-  ?  ).  See  Reg- 
ister, 5. 

LE  BARON,  HARRISON  D.  See  Col- 
leges, 3  (Adrian  C,  Mich.). 

LECKNER,  MAX  (b.  1842).  See  Regis- 
ter, 5. 

LEE,  THOMAS,  Jr.  See  Tune-Books, 
1790. 

LEE  &  WALKER,  Philadelphia,  was  a 
publishing-firm  established  in  1848  by  Julius 
Lee  (d.  1875)  and  William  Walker  (d.  1857), 
both  of  whom  had  been  in  the  employ  of  George 
Willig,  whose  business  began  as  far  back  as 
1794.  For  many  years  they  issued  much  pop- 
ular music  and  some  books  of  importance.  In 
1876  the  stock  and  good-will  were  purchased 
by  Oliver  Ditson  and  became  the  nucleus  for 
J.  E.  Ditson  &  Co.  Meanwhile  the  firm-name 
was  continued  by  Julius  Lee,  Jr.,  and  J.  F. 
Morrison. 

LEEFSON,  MAURITZ;(b.  1861).  See  Reg- 
ister, 7. 

LEHMANN,  FRIEDRICH  J.  (b.  1866). 
Bee  Register,  8. 

LEHMANN,  GEORGE  (July  31,  1865, 
New  York),  in  1880-83  was  at  the  Leipzig 
Conservatory,  taking  violin  with  Schradieck 
and  Hermann,  harmony  with  Lammers  and 
counterpoint  and  fugue  with  Jadassohn.  He 
also  studied  one  season  with  Joachim  in 
Berlin.     In  1883  at  Leipzig  he  won  the  Helbig 


prize  for  violin-playing  by  a  performance  of 
Joachim's  Hungarian  concerto  at  the  Gewand- 
haus.  He  toured  as  soloist  and  leader  of  the 
Lehmann  Quartet,  in  1886-89  conducted  the 
Cleveland  Symphony  Orchestra  and  in  1889- 
92  lived  in  Europe.  In  1893  he  settled  in 
New  York  as  teacher  and  writer,  but  removed 
to  Berlin  in  1907.  Since  1916  he  has  been 
director  of  the  Lehmann  Violin-School  in 
New  York.  He  has  written  True  Principles 
of  the  Art  of  Violin-Playing,  1899,  translated 
De  Beriot's  Violin-Method  (Schirmer)  and 
edited  The  Violinist's  Lexicon,  1917,  and  25 
Pieces  in  the  First  Position.     [  R.7  ] 

LEHMANN,  GUSTAV  ADOLF.  See 
Colleges,  3  (Bluffton  C,  Ohio). 

LEHMANN,  LILLI  (Nov.  24,  1848,  Wiirz- 
burg,  Germany).  See  article  in  Vol.  ii.  667. 
[  R-7  ] 

'LEIF  ERIKSON.'  A  three-act  opera  by 
Gerard  Tonning,  produced  in  1910  at  Seattle. 

LEMARE,  EDWIN  HENRY  (Sept.  9, 1865, 
Ventnor,  Isle  of  Wight).  See  article  in  Vol. 
ii.  673.  He  was  organist  at  the  Carnegie 
Institute  in  Pittsburgh  in  1902-05,  during 
which  time  he  gave  170  recitals.  For  some 
years  he  held  no  official  position,  but  toured 
the  world  as  concert-organist,  making  two 
trips  to  Australia  and  New  Zealand,  besides 
many  in  Europe  and  America.  In  1915  he 
gave  over  100  recitals  at  the  Panama  Ex- 
position. In  1917  he  became  city-organist  at 
San  Francisco.  His  works  (largely  Novello) 
include  a  long  list  of  organ-pieces  (two  sym- 
phonies, overtures  and  smaller  works),  an 
Easter  cantata,  church-music  and  many  fine 
organ-transcriptions.     [  R.9  ] 

LEMONT,  CEDRIC  WILMOT  (b.  1879). 
See  Register,  9. 

t  LENEPVEU,  CHARLES  FERDINAND 
(Oct.  4,  1840,  Rouen,  France  :  Aug.  16, 
1910,  Paris).  See  article  in  Vol.  ii.  674-5. 
To  list  of  works  add  'Iphigenie,'  scene  for  soli, 
chorus  and  orchestra,  a  '  Messe  de  Mariage,' 
a  string-quartet,  motets  and  piano-pieces. 

t  LEONCAVALLO,  RUGGIERO  (Mar. 
8,  1858,  Naples,  Italy  :  Aug.  9,  1919,  Na- 
ples). See  article  in  Vol.  ii.  678-80.  He 
toured  the  United  States  and  Canada  in  1906, 
conducting  'I  Pagliacci'  and  'La  Jeunesse 
de  Figaro.'  In  1910  'Maia'  and  'Malbruk' 
were  produced  within  four  days  (Rome),  in 
1912  'Reginetta  delle  Rose'  (Rome  and 
Naples)  and  'Gli  Zingari'  (London),  and  in 
1916  'Ave  Maria'  and  'Gioflredo  Mameli' 
(Genoa).  The  operetta  'Are  you  there?' 
was  produced  at  London  in  1913.  He  also 
wrote  the  symphonic  poem  'Serafita'  and  a 
'Hymne  France-Italie'  (1916,  Paris). 

'LEONORA.'  An  opera  by  William  H. 
Fry,  originally  produced  in  Philadelphia  by 
the  Seguin  troupe  in   1845  and  repeated  in 


270 


LERNER 


LEWIS 


Italian  in  New  York  in  1858  at  the  Academy 
of  Music  under  the  direction  of  Anschiltz.  See 
Elson,  Hist,  of  American  Music,  pp.  109-10. 

LERNER,  TINA  (June  5,  1890,  Odessa, 
Russia),  studied  piano  with  Rudolph  Helm 
in  Odessa  when  but  six  to  nine,  and  then 
entered  the  Moscow  Conservatory,  where  she 
was  a  pupil  of  Pabst  until  1904.  She  made 
her  d6but  in  Moscow  in  1905,  when  she  played 
Beethoven's  'Emperor'  concerto  with  the 
Philharmonic  Society.  She  made  successful 
tours  of  Europe,  and  came  to  America  in  1908, 
making  her  first  appearance  in  New  York 
in  Rachmaninov's  second  concerto  with  the 
Russian  Symphony  Orchestra.  She  con- 
certized  in  1909-10,  then  spent  two  years 
in  Europe  and  since  1912  has  made  her  home 
in  America.  She  married  the  pianist  Louis 
Bachner  in  1909,  but  was  divorced  in  1915 
and  married  the  violinist  Vladimir  Shavitch 
the  same  year.     [  R.9  ] 

JLEROUX,  XAVIER  HENRI  NAPO- 
LlfeON  (Oct.  11,  1863.  Velletri,  Italy  :  Feb. 
20,  1919,  Paris).  See  article  in  Vol.  ii.  681. 
To  the  list  of  operas  add  'William  Ratcliff' 
(1906,  Nice),  'Theodora'  (1906,  Monte  Carlo), 
'Le  Chemineau'  (1907,  Paris,  also  1911,  New 
Orleans),  'Le  Carillonneur'  (1912,  Paris),  'La 
Fille  de  Figaro'  (1914,  Paris),  'Les  Cadeaux  de 
Noel'  (1916,  Paris)  and  '1814'  (1918,  Monte 
Carlo). 

t  LESCHETIZKY,  THEODOR  (June  22, 
1830,  Lancut,  Austrian  Poland  :  Nov.  17, 
1915,  Dresden,  Germany).  See  article  in 
Vol.  ii.  681.  From  about  1890  till  the  end 
of  his  life  he  was  exceedingly  active  as  a 
teacher  and  was  sought  by  pupils  from  all 
parts  of  the  world.  Among  those  were  Fannie 
Bloomfield  Zeisler,  Mark  Hambourg,  Ossip 
Gabrilovitch,  Artur  Schnabel,  Ethel  New- 
comb,  Katherine  Goodson,  Frank  LaForge 
and  Ethel  Leginska.  He  was  four  times 
married  —  to  the  concert-singer  Anna  Fried- 
bourg  in  Petrograd,  in  1880-91  to  Annette 
Essipov,  in  1894-1908  to  Dominirska  Beni- 
slavska,  and  in  1908  to  Marie  Pozborska  (all 
pupils  except  the  first)  —  being  separated 
from  the  first  three  by  divorce.  See  biogra- 
phies by  Countess  Potocka,  1903,  and  A. 
HuUah,  1906,  besides  on  his  method,  Marie 
Prentner,  The  Modern  Pianist,  1903,  and  Mal- 
wine  Bree,  The  Leschetizsky  Method  (Eng.  trans, 
by  Arthur  Elson,  1913.) 

LESLIE,  BENJAMIN.  See  Tune-Books, 
1811. 

LESTER,  THOMAS  WILLIAM  (b.  1889). 
See  Register,  10. 

LE  SUEUR,  PETER  (b.  1871).  See  Reg- 
ister, 8. 

LETZ,  HANS  (b.  1887).     See  Register,  9. 

LETZ  QUARTET,  THE,  was  formed  in 
1917    after    the    dissolution    of    the    Kneisel 


Quartet.  It  consists  of  Hans  Letz,  Sander 
Harmati,  Edward  Kreiner  and  Gerald  Maas, 
and  at  once  stepped  into  high  estimation  for 
superior  musicianship. 

LEVETT,  DAVID  MAURICE  (1844- 
1914).     See  Register,  6. 

LEVEY,  STANLEY.  See  Colleges,  2 
(Tennessee  C.) 

LEVITZKI,  MISCHA  (b.  1898).  See  Reg- 
ister, 10. 

L£;VY,  HENIOT  (July  19,  1879,  Warsaw, 
Poland),  graduated  from  the  Hochschule 
in  Berlin  in  1897,  his  teachers  being  Raif  and 
Barth,  and  he  also  studied  composition  with 
Bruch.  His  debut  in  1898  was  with  the 
Berlin  Philharmonic  Orchestra  and  he  then 
toured  in  Germany  and  Scandinavia.  Since 
1905  he  has  been  active  as  teacher  and  pianist 
in  Chicago,  being  in  the  faculty  of  the  American 
Conservatory.  He  has  given  recitals  and 
appeared  with  the  Chicago  and  other  or- 
chestras. Among  his  publications  are  a  piano- 
concerto,  op.  1,  a  sonata  for  piano  and  violin, 
op.  6,  a  piano-trio,  op.  10,  variations  and 
smaller  pieces  for  piano.  Unpublished  are 
an  overture,  a  piano-concerto,  a  string-quartet, 
a  Passacaglia  for  violin  and  piano,  a  musical 
setting  of  Tennyson's  'Guinevere,'  16  songs  (by 
Dunbar),  other  songs  and  piano-pieces.    [  R.9  ] 

LEVY,  JULES  ( 1840  ?-  ?  ) .    See  Register,  5. 

LEWING,  ADELE  (Aug.  6,  1866,  Hanover, 
Germany),  appeared  as  pianist  at  fourteen 
and  had  then  already  essayed  composition. 
She  graduated  with  honors  at  the  Leipzig 
Conservatory  in  1885,  having  studied  under 
Reinecke  and  Jadassohn.  She  then  became 
known  as  recitalist  and  concert-player  in 
Europe  and  in  America,  where  she  also  taught 
in  Chicago  and  Boston,  appearing  with  leading 
orchestras  and  quartets.  In  1893-96  she 
studied  piano  with  Leschetizky  in  Vienna 
and  composition  with  Fuchs.  Since  1897 
she  has  worked  in  New  York  as  teacher, 
player  and  composer.  In  1899  she  married 
Dr.  B.  W.  Stiefel  of  New  York.  She  has  won 
many  prizes  for  songs  and  piano-pieces 
(Columbian  Exposition,  1893,  Baltimore,  1910, 
etc.).     [  R.7  ] 

LEWIS,     FREEMAN     (1780-1859).     See 

TuNE-BoOKS,  1813. 

LEWIS,  LEO  RICH  (Feb.  11,  1865,  South 
Woodstock,  Vt.) ,  had  his  general  training  in  the 
Boston  schools,  graduated  at  Tufts  College 
in  1887  and  took  post-graduate  work  at  Har- 
vard, with  highest  honors  in  music.  In 
1889-92  he  was  in  Munich  as  pupil  of  Rhein- 
berger  in  composition  and  as  student  of 
languages,  and  won  a  diploma  in  composition 
from  the  Akademie  der  Tonkunst.  Since  1892 
he  has  been  in  the  faculty  of  Tufts  College, 
at  first  as  instructor  in  French  and  from  1895 
as  professor  of  music.     Besides  marked  sue- 


LIADOV 


LICHTENBERG 


271 


cess  in  arousing  enthusiasm  among  his  stud- 
ents, he  has  been  active  in  promoting  at- 
tention to  music  in  high  schools  and  colleges 
generally.  For  many  years  he  has  been  on 
the  staff  of  the  College  Entrance  Examination 
Board  and  since  1910  chief  examiner  in  music. 
Early  works  were  the  cantata  'The  Conso- 
lation of  Music'  (1895)  and  a  sonata  for  violin 
and  piano  (1895).  For  the  revivals  at  Tufts 
of  Milton's  'Comus'  and  Dekker's  'For- 
tunatus'  (1901,  '06)  he  arranged  the  music 
from  old  scores.  His  music  for  'Comus'  has 
been  repeated  at  other  institutions.  With 
S.  W.  Cole  he  has  published  Harmonia  and 
Melodia  (both  1905)  and  several  other  col- 
lections of  school-music.  Of  his  war-songs 
'We  Stand  —  a  Song  of  Devotion  to  the  United 
States'  was  specially  popular.  He  has  in 
manuscript  a  symphonic  prelude  for  Brown- 
ing's 'A  Blot  on  the  'Scutcheon.'  He  is  the 
originator  of  a  system  of  card-indexing  for 
music.  He  has  written  considerably  in  fields 
outside  of  music.     [  R.8  ] 

t  LIADOV,  ANATOL  CONST ANTINO- 
VITCH  (May  11,  1855,  Petrograd,  Russia  : 
August,  1914,  Petrograd).  See  article  in  Vol. 
ii.  689.  As  professor  in  the  Petrograd  Con- 
servatory from  1878  he  was  the  teacher  of 
many  prominent  Russian  composers  of  the 
present  generation.  From  1894  he  conducted 
the  concerts  of  the  Imperial  Musical  Society. 
Among  later  works  were  the  symphonic  poems 
'Baba  Yaga,'  op.  56,  'Le  Lac  Enchants, '  op. 
62,  and  'Kikimora,'  op.  63,  choruses  with 
orchestra  to  Maeterlinck's  'Sceur  Beatrice,' 
op.  60,  and  the  ballet  'Leila  andAdelai'  (un- 
finished). 

X  LIAPUNOV,  SERGIUS  MICHAILO- 
VITCH  (Nov.  30,  1859,  Yaroslav,  Russia). 
See  article  in  Vol.  ii.  690.  In  1902-10  he  was 
music-inspector  at  St.  Helen's  Institute,  and 
since  1910  has  been  professor  at  the  Petrograd 
Conservatory.  In  recent  years  he  has  also 
appeared  in  European  capitals  as  conductor 
or  pianist.  To  the  list  of  works  add  the  2nd 
piano-concerto,  op.  38,  a  'Rapsodie'  on  Ukrai- 
nian themes,  op.  28,  for  piano  and  orchestra, 
and  the  symphonic  poem  'Yelasova  Vola,' 
op.  37.  He  edited  letters  between  Tchai- 
kovsky and  Balakirev,  1912. 

LIBRARIES,  MUSICAL.  See  notes  in 
Vol.  ii.  717-20.  The  leadership  of  the  Library 
of  Congress,  the  Boston  Public  Library,  the 
New  York  Public  Library  and  the  Newberry 
Library  in  Chicago,  as  there  stated,  has  been 
maintained.  But  the  public  library  of  almost 
every  large  city,  and  even  of  many  cities  of 
moderate  size,  is  now  giving  careful  attention 
to  the  accumulation  of  books  about  music, 
collections  and  often  well-selected  sets  of  piano- 
scores,  vocal  music  and  even  orchestral  music. 
The  purpose  is  naturally  to  encourage  popular 


intelligence  and  appreciation  rather  than  to 
collect  material  for  scholarly  research.  Be- 
sides Harvard  and  Yale  Universities,  many 
others  are  now  important,  especially  several 
of  the  great  State  Universities,  like  Michigan, 
California  and  Wisconsin.  A  few  of  the 
State  Libraries,  also,  like  those  of  New  York, 
Kansas  and  California,  are  building  up  musi- 
cal collections  of  importance.  Some  of  the 
leading  conservatories,  like  the  New  England 
Conservatory  in  Boston,  the  Institute  of 
Musical  Art  in  New  York,  the  Oberlin  Con- 
servatory and  the  School  of  Music  in  North- 
western University,  have  valuable  libraries, 
either  of  their  own  or  in  the  institutions  of 
which  they  are  a  part.  Regarding  the  four 
leading  libraries  mentioned  in  Vol.  ii.  see 
articles  in  the  M.T.N. A.  Proceedings,  1908, 
pp.269,  289;  1910,  p.  188;  1914,  p.  211;  and 
1909,  p.  198,  as  well  as  papers  relating  to  the 
subject  in  general  in  1916,  p.  47;  1917,  p.  52; 
and  1918,  p.  190.  In  the  volume  for  1917  is 
given  the  questionnaire  issued  by  a  committee 
working  in  conjunction  with  the  Bureau  of 
Education  and  a  tentative  summary  of  some 
of  the  statistics  secured.  The  report  of  this 
committee  has  been  drafted  in  detail,  but  has 
not  yet  been  published.  It  is  soon  to  appear 
as  a  Bulletin  of  the  Bureau  of  Education. 

The  total  number  of  books,  pamphlets  and  pieces 
in  the  Library  of  Congress  (Music-Division)  is  about 
825,000.  Of  this  number  about  35,000  are  books 
upon  music,  old  and  new.  There  are  over  5000  scores 
of  instrumental  works,  like  symphonies,  concertos, 
suites,  etc.,  over  7000  vocal  scores  of  operas,  over  3000 
orchestral  operatic  scores,  and  over  20,000  opera- 
librettos.  There  are  also  more  than  5000  player- 
piano  rolls. 

The  New  York  Public  Library  has  over  125,000 
books  upon  music,  7200  bound  volumes  of  music  and 
more  than  1000  orchestral  scores.  It  has  an  exten- 
sive collection  of  opera-librettos.  In  1914  it  received 
by  gift  the  opera-collection  of  the  late  Julian  Edwards, 
containing  about  250  full  scores  of  operas,  oratorios, 
etc.,  300  operatic  vocal  scores  and  325  books  on  music. 

The  Boston  Public  Library  contains  more  than 
15,000  books  on  music,  over  26,000  bound  volumes  of 
music,  over  4000  orchestral  scores  and  about  1000 
scores  of  chamber-music  works.  It  has  a  remarkable 
collection  of  programs  of  musical  events  in  Boston 
for  the  past  fifty  years.  It  also  has  many  autograph 
scores  of  important  works  by  American  composers. 

The  Newberry  Library  in  Chicago  has  more  than 
13,000  books  upon  music  or  bound  volumes  of  music. 

LICHTENBERG,  LEOPOLD  (Nov.  22, 
1861,  San  Francisco),  began  violin-study  with 
Beaujardin  and  at  eight  appeared  in  concert. 
In  1873  Wieniawski,  visiting  San  Francisco, 
heard  him  play  and  became  his  teacher  at 
Brussels  for  three  years,  where  he  won  first 
prize  at  the  Conservatory  in  1876.  After  a 
tour  in  Holland,  made  in  Wieniawski's  place, 
he  retm-ned  to  America  and  for  a  year  traveled 
as  soloist  with  the  Thomas  Orchestra.  For 
a  time  he  played  in  the  Boston  Symphony 


272 


LICHTENSTETN 


LITCHFIELD   CHORAL  UNION 


Orchestra  and  then  moved  to  New  York,  where 
in  1890  he  became  violinist  in  the  first  Margu- 
lies  Trio,  continuing  in  1904  in  the  later  Trio, 
and  from  1899  became  chief  violin-teacher  at 
the  National  Conservatory.     [  R.6  ] 

LICHTENSTETN,  VICTOR  (b.  1872). 
See  Register,  8. 

LIEBLING,  EMIL  (Apr.  12,  1851,  Pless, 
Germany  :  Jan.  20,  1914,  Chicago),  first 
came  to  America  when  a  youth,  but  had  his 
musical  training  abroad.  At  Berlin  he  studied 
piano  with  Ehrlich  and  Ivullak,  at  Vienna 
with  Dachs  and  at  Weimar  with  Liszt,  while 
Dorn  taught  him  composition.  In  1874-76 
he  was  teacher  in  the  Kullak  Conservatory. 
Meanwhile,  in  1872,  he  had  located  in  Chicago, 
where  he  became  eminent  as  player,  teacher  and 
writer.  His  works  for  piano  include  a  '  Gavotte 
Moderne,'  op.  11;  a  'Florence  Valse,'  op.  12; 
'Feu  FoUet,'  op.  17;  Albumblatt,  op.  18; 
Cradle-Song,  op.  23 ;  and  '  Minuetto  Scher- 
zoso,'  op.  28.  He  contributed  brilliant  articles 
to  several  periodicals  and  was  one  of  the  editors 
of  The  American  History  and  Encyclopedia  of 
Music,  1908.     [  R.5  ] 

LIEBLING,  LEONARD  (Feb.  7,  1874, 
New  York),  is  a  nephew  of  the  foregoing. 
He  graduated  from  the  College  of  the  City 
of  New  York  in  1897  and  then  went  abroad 
to  study  piano  at  Berlin  under  Godowsky, 
Kullak  and  Barth  and  composition  under 
Urban.  After  teaching  and  appearing  as 
pianist  there  and  in  America,  since  1899  he 
has  been  mostly  engaged  in  literary  work. 
He  has  written  a  number  of  comic  opera- 
librettos,  including  'Vera  Violetta,'  'The 
Girl  and  the  Kaiser,'  'The  American  Maid' 
(music  by  Sousa),  etc.  In  1902  he  joined  the 
staff  of  'The  Musical  Courier'  and  since  1911 
has  been  editor-in-chief.     [  R.8  ] 

LIEBLING,   MAX  (b.   1845).     See  Regis- 

LIEDERKRANZ,  DER  DEUTSCHE,  of 
New  York.  See  Vol.  iii.  368-9,  and  Ritter, 
Music  in  America,  chap.  xix.  Similar  societies 
were  early  established  in  many  cities  where 
German  singers  were  nmnerous,  such  as  Cin- 
cinnati, Milwaukee,  Chicago  and  St.  Louis, 
and  often  aspired  to  elaborate  choral  concerts 
and  even  operatic  performances  in  addition 
to  the  part-song  singing  of  a  social  kind  that 
was  their  original  purpose. 

'LIFE.'  No.  17  of  the  'Grove-Plays'  of 
the  San  Francisco  Bohemian  Club,  produced 
in  1919.  The  text  is  by  Harry  Leon  Wilson 
and  the  music  by  Domenico  Brescia. 

'LIGHT  OF  ASIA,  THE.'  An  oratorio 
by  Dudley  Buck,  published  in  1885  (Novello) 
and  first  performed  in  London  in  1889.  The 
text  is  taken  from  Edwin  Arnold's  well-known 
poem.  It  is  the  most  elaborate  of  Buck's 
choral  works. 


LILIENTHAL,    ABRAHAM    WOLF    (b. 

1859).     See  Register,  7. 

LIMBERT,  FRANK  L.  (b.  1866).  See 
Register,  8. 

LINDEMAN,  WILLIAM  (1795-1875).  See 
Register,  3. 

LINDQUEST,  ALBERT  CHARLES  (b. 
1892).     See  Register,  10. 

LISSER,  LOUIS  (b.  1850).  See  Register, 
6,  and  Colleges,  2  (Mills  C,  Cal.). 

LISTEMANN,  BERNHARD  (Aug.  28, 
1841,  Schlotheim,  Germany  :  Feb.  11,  1917, 
Chicago),  was  trained  as  violinist  at  Sonders- 
hausen  by  Ullrich  and  at  Leipzig  by  David 
(1856-57)  and  also,  while  in  1859-67  concert- 
master  of  the  court-orchestra  at  Rudolstadt, 
by  Vieuxtemps  (1861)  and  Joachim  (1862). 
With  Ills  brother  Fritz  he  came  to  America 
in  1867,  tom-ed  with  Leopold  de  Meyer  and 
spent  two  years  in  Boston.  In  1871-74  he 
was  concertmaster  of  the  Thomas  Orchestra 
and  in  1881-85  of  the  Boston  Symphony 
Orchestra.  In  1875-79  he  was  leader  of  the 
Philharmonic  Club  of  Boston,  in  1879-81 
of  the  Philharmonic  Orchestra  which  suc- 
ceeded it,  and  in  1881-85  of  the  Listemann 
String  Quartet,  of  all  of  which  he  was  founder 
and  moving  spirit.  In  1885-93  he  taught  in 
Boston,  but  also  kept  up  tours  with  the 
Listemann  Concert  Company.  From  1893 
he  worked  in  Chicago,  at  first  as  head  of  the 
violin-department  of  the  Chicago  College 
of  Music.  Before  his  retirement  in  1911  he 
lived  once  more  for  two  years  in  Boston. 
He  published  a  Violin-Method,  and  composed 
violin-pieces  and  also  a  symphony.     [  R.5  ] 

LISTEMANN,  FRANZ  (b.  1873).  See  Reg- 
ister, 8. 

LISTEMANN,  FRITZ  [Ferdinand]  (1839- 
1909).     See  Register,  5. 

LISTEMANN,  PAUL  (b.  1871).     See  Reg- 

LITCHFIELD  COUNTY  CHORAL  UN- 
ION, THE.  This  enterprise,  founded  in  1899, 
is  a  memorialr  of  Robbins  Battell  (1819-95), 
planned  and  munificently  supported  by  his 
daughter  and  her  husband,  Carl  Stoeckel,  of 
Norfolk,  Conn.  Almost  a  century  ago  there 
was  a  Litchfield  County  Musical  Associa- 
tion of  which  Battell  was  promoter  and  con- 
ductor. Its  last  concert  in  1851  at  Litch- 
field he  directed.  In  1875  he  led  a  glee-club 
at  Winsted,  where  in  1878  a  choral  society 
was  formed,  with  R.  S.  Frary  as  conductor. 
From  1882  he  arranged  superior  open-air 
concerts  at  Norfolk,  which  were  repeated  at 
Lakeville.  In  1885  the  Winsted  chorus  waa 
reorganized,  Richmond  P.  Paine,  then  of  New 
Britain,  being  conductor.  In  1897  Mrs. 
Stoeckel  started  the  Norfolk  Glee  Club,  led 
in  1899  by  N.  H.  Allen.  Its  success  led  to  the 
formation  in  that  year  of  the  present  County 


CHARLES  M.  LOEFFLER 


LITCHFIELD  CHORAL  UNION 


LONGY 


273 


Union,  which  links  together  the  musical 
interests  of  a  chain  of  five  or  six  towns  and 
villages  in  the  northwestern  corner  of  Con- 
necticut. Of  this  organization  five  local 
choruses  (Norfolk,  Winsted,  Salisbury,  Canaan 
and  Torrington)  have  been  members  since  1906. 
The  chief  conductors  have  been  R.  P.  Paine 
(1899-1915)  and  Arthur  Mees  of  New  York. 
The  total  forces  in  recent  years  have  included 
about  700  singers  (not  over  425  at  any  one 
concert)  and  a  picked  orchestra  of  75-100 
from  New  York,  with  a  variety  of  distinguished 
soloists,  vocal  and  instrumental.  At  present 
three  concerts  are  given  each  year  at  Norfolk 
in  the  first  week  of  June,  and  from  time  to 
time  local  concerts  in  other  places.  The 
June  Festivals  have  acquired  an  extraordinary 
prestige  for  dignity  and  perfection,  attracting 
visitors  from  all  over  the  country.  For  these 
Festivals  in  1904  Mr.  Stoeckol  erected  an 
experimental  building  and  this  was  later 
replaced  by  a  more  permanent  structure, 
known  as  the  'Music  Shed,'  seating  about 
1450  auditors  amid  ideal  acoustical  conditions. 
Since  the  fifth  year  there  has  been  no  ad- 
mission-fee charged,  and  no  advertising  of  any 
sort  is  permitted.  The  heavy  expenses  for 
conductors,  orchestras,  soloists  and  invited 
composers  are  defrayed  by  Mr.  and  Mrs. 
Stoeckel  as  patrons.  They  have  been  strik- 
ingly successful  not  only  in  setting  up  a  unique 
artistic  center,  but  in  making  it  a  nucleus  for 
community-enthusiasm. 

The  programs  of  the  concerts  include  such 
standard  choral  works  as  'Elijah,'  'Hymn  of 
Praise,'  'Messiah,'  'The  Redemption,'  the 
Requiems  of  Verdi  and  of  Brahms,  the  Stabat 
Maters  of  Rossini  and  of  Dvofdk,  'The 
Damnation  of  Faust,'  'Samson  and  Delilah,' 
'Scenes  from  Hiawatha,'  and  a  long  list  of 
great  orchestral  works  and  famous  vocal 
solos.  The  following  works  have  also  been 
specially  written  for  Norfolk  and  first  per- 
formed there : 

Parker  —  'King  Gorm  the  Grim*  (1908),  'Col- 
legiate' Overture  (1911),  'The  Dream  of  Mary' 
(1918). 

Chadwick  — 'Noel'  (1909),  'Aphrodite'  (1912), 
'Tarn  O'Shanter'  (1915),  'Land  of  our  Hearts' 
(1918). 

Coleridge-Taylor  —  '  Bamboula  Rhapsodic  Dance ' 
(1910),  'Tale  of  Old  Japan'  (1912),  Violin 
Concerto  (1912),  'Negro  Air'  for  violin  and 
orchestra  (1912),  'From  the  Prairie'  (1914). 

Hadley  —  Symphony  No.  4,  'North,  East,  South, 
West'  (1911),  'Lucifer'  (1914). 

Bruch  —  Konzertstiick,  op.  85,  for  violin  and  or- 
chestra (1911). 

Kelley  —  Symphony  No.  2,  'New  England'  (1913), 
Alice  in  Wonderland  '  (1919). 

Gilbert  —  'Negro  Rhapsody'   (1913). 

Sibelius  —  'Aalottaret'    (1914). 

Stanford  —  Piano  Concerto  (1915),  'Irish  Rhap- 
sody,' No.  5  (1917),  'Verdun'  (1918). 

Stock  —  Violin  Concerto  (1915). 


Loeffler  —  Symphony,  'Hora  Mystica'  (1916). 
Grainger  —  Suite,    'In   a   Nutshell'    (1916),   'The 

Warriors'  (1917). 
Carpenter  —  Symphony  (1917). 
Laucella  —  Symphonic  Impressions,  'Whitehouse' 

(1917). 
Smith,  David  Stanley  —  Symphony  No.  2  (1918). 
(In  most  ca-ses  these  works  were  conducted  by  the 
composers  in  person.) 

Considering  aU  that  this  List  implies  as  to 
the  encouragement  of  original  composition, 
with  the  employment  of  distinguished  singers 
and  players  and  the  development  through 
Mr.  Paine's  genius  of  a  permanent  chorus  of 
extraordinary  competence  and  sympathy,  it 
is  not  strange  that  these  Festivals  stand  out 
as  peculiarly  significant.  See  Litchfield  County 
Choral  Union,  1900-1912,  2  vols..  1912,  edited 
by  J.  H.  Vaill  (privately  printed). 

LITTLE,  HENRY.  See  Tune-Books, 
1820. 

LITTLE,  WILLIAM.  See  Tune-Books, 
1798. 

LOCKE,  ARTHUR  WARE  (b.  1883).  See 
Register,  9. 

LOCKE,  FLORA  ELBERTINE,  n6e  Huie 
(b.  1866).     See  Register,  7. 

LOCKPORT  FESTIVALS.  See  Nobth 
American  Music  Festival. 

LOCKWOOD,  ALBERT  LEWIS  (b.  1871). 
See  Register,  8. 

LOCKWOOD,  SAMUEL  PIERSON  (b. 
1879).     See  Register,  9. 

LOEB,  JAMES  (b.  1867).     See  Register,  9. 

LOEFFLER,  CHARLES  MARTIN  TOR- 
NOV  (Jan.  30,  1861,  Mulhouse,  Alsace). 
See  article  in  Vol.  ii.  763.  To  the  list  of 
works  add  a  'Divertimento  Espagnole'  for 
saxophone  and  orchestra  (1901)  ;  Psalm  137, 
for  women's  chorus  (1902);  'For  One  who 
Fell  in  Battle,'  for  double  chorus  (1906) ;  the 
symphonic  'Pagan  Poem,'  after  Virgil,  for 
orchestra,  piano  and  trumpets  (Schirmer) ; 
the  symphony  in  one  movement  'Hora  Mys- 
tica,' for  orchestra  and  men's  chorus  (1916, 
Norfolk  Festival) ;  and  '  Music  to  the  Memory 
of  Victor  Chapman,'  three  movements  for 
string-quartet  (1917).  He  is  working  upon 
a  one-act  opera.     [  R.7  ] 

LOMBARDI  OPERA  COMPANY,  THE, 
was  a  South  American  troupe  under  the  lead 
of  Mario  Lombardi  which  came  to  San  Fran- 
cisco in  1908  with  success.  In  1912  this  was 
transformed  into  the  Pacific  Coast  Grand 
Opera  Company  and  produced,  among  other 
works,  Strauss'  'Salome'  and  Zandonai's 
'Conchita'  (first  time  in  America). 

LONGY,  GUSTAVE  GEORGES  LEO- 
POLD (Aug.  29,  1868,  Abbeville,  France), 
was  trained  at  the  Paris  Conservatory,  study- 
ing oboe  with  Gillet  and  taking  a  second  prize 
in  1885  and  a  first  in  1886.  He  played  in  the 
Lamoureux,     Ch^telet,    Folies-Berg^re     and 


274 


LONGY  CLUB 


LOVEWELL 


Opfera-Comique  Orchestras.  In  1898  he  came 
to  America  as  first  oboist  in  the  Boston 
Symphony  Orchestra,  a  position  still  held 
with  distinction.  In  1900  he  foimded  the 
Longy  Club,  made  up  of  wind-instruments 
and  piano  (Heinrich  Gebhard),  which  has 
given  many  notable  chamber-music  per- 
formances. The  Boston  Orchestral  Club, 
which  he  conducted  in  1899-1913,  introduced 
many  novelties,  chiefly  by  French  composers. 
In  1915  he  was  appointed  conductor  of  the 
MacDowell  Orchestra  in  Boston  and  in  1916 
founded  the  Longy  School  of  Music.  He  has 
been  an  Ofiicier  d'Acadfemie  since  1895  and 
Oflicier  de  I'lnstruction  Publique  since  1911. 
[  R.8  ] 

LONGY  CLUB,  THE,  of  Boston.  See 
preceding  article. 

LOOMIS,  HARVEY  WORTHINGTON 
(Feb.  6,  1865,  Brooklyn),  after  a  general 
education  at  the  Brooklyn  Polytechnic  In- 
stitute, studied  composition  with  Dvordk  at 
the  National  Conservatory  and  piano  with 
Mme.  Schiller  in  New  York.  He  has  de- 
voted himself  mainly  to  composition,  with 
success  along  several  lines.  Among  his  works 
is  the  opera  'The  Traitor  Mandolin'  (1900)  ; 
four  comic  operas — 'The  Maid  of  Athens,' 
'The  Burglar's  Bride,'  'Going  LTp?'  and  'The 
Bey  of  Baba ' ;  and  many  musical  panto- 
mimes—  'Put  to  the  Test,'  'Her  Revenge,' 
'In  Old  New  Amsterdam,'  'The  Enchanted 
Fountain,'  'Love  and  Witchcraft'  and  'Blanc 
et  Noir.'  His  music  for  children  is  much 
appreciated  —  the  cantata  'Fairy  Hill,'  24 
miniature  piano-duets,  'Toy-Tunes'  (text  and 
music),  'Song-Flowers,'  2  vols.,  and  many 
school-choruses.  He  also  has  written  a  sonata 
for  piano,  a  sonata  for  violin  and  piano,  and 
many  pieces  for  piano,  including  'Lyrics  of 
the  Red  Man,'  2  books.  He  has  added 
incidental  music  to  the  plays  'The  Tragedy 
of  Death'  (Ren6  Peter)  and  'The  Coming 
of  the  Prince'  (William  Sharp),  and  prepared 
the  musical  recitations  'Sandalphon'  and 
'The  Story  of  the  Faithful  Soul.'  Besides 
writing  for  periodicals  he  has  lectured  on 
Indian  music.     [  R.8  ] 

LORENZ,  EDMUND  SIMON  (b.  1854). 
See  Register,  6. 

LORENZ,  JULIUS  (b.  1862).  See  Register, 
7. 

LORENZ  PUBLISHING  COMPANY, 
THE,  of  Dayton,  O.,  was  founded  in  1890 
by  Edmund  S.  Lorenz  and  incorporated  in 
1901.  It  has  devoted  itself  to  publishing 
church-music,  especially  for  the  use  of  the 
United  Brethren  and  related  denominations. 
Its  publications  number  over  2500,  including 
about  450  collections  of  hymns,  anthems,  and 
Bome  organ-music,  aggregating  over  11,000,000 
copies.     It  has  also  made  a  specialty  of  popular 


monthly  periodicals  relating  to  church-music, 
including  'The  Choir-Leader'  (from  1894), 
'The  Choir  Herald'  (from  1898),  'The  Volun- 
teer Choir'  (from  1913),  'Der  Kirchenchor' 
(from  1898)  and  'The  Organist'  (from  1898), 
all  except  the  last  edited  by  E.  S.  Lorenz- 
It  has  also  published  the  comprehensive 
manual  by  the  latter  on  Practical  Church 
Music,  1909.  In  1901  Karl  K.  Lorenz,  the 
founder's  son,  a  graduate  of  Columbia  Uni- 
versity and  a  pupil  of  MacDowell,  entered 
the  business,  and  in  1905  Ira  B.  Wilson  was 
added  to  the  editorial  force.  In  1902  a  branch 
was  opened  in  New  York  and  in  1914  one  in 
Chicago. 

LORENZO,  LEONARDO  DE  (b.  1875). 
See  Register,  10. 

LORING,  HAROLD  AMASA  (b.  1879). 
See  Register,  9. 

LORING  CLUB,  THE,  of  San  Francisco, 
is  a  men's  chorus,  organized  in  1876,  which 
has  maintained  a  high  standard  of  excellence. 
Its  present  director  is  Wallace  A.  Sabin. 

LOS  ANGELES  SYMPHONY  ORCHES- 
TRA, THE,  was  organized  in  1897.  Its  con- 
ductor for  many  years  has  been  Adolf  Tandler. 
In  1915  it  gave  the  first  performance  west  of  the 
Mississippi  of  Beethoven's  9th  Symphony  and 
in  1917  brought  out  Cadman's  '  Thunderbird ' 
Suite.    The  players  number  about  75. 

LOTH,  LOUIS  LESLIE  (b.  1888) .  See  Reg- 
ister, 9. 

LOUD,  JOHN  HERMANN  (b.  1873).  See 
Register,  8. 

LOUD,  THOMAS  (d.  1834).  See  Register, 
3,  and  Tune-Books,  1824. 

LOUD,  THOMAS  C.  (1812-  ?  ).  See  Reg- 
ister, 3. 

'LOUIS  XIV.'  An  opera  by  Homer  Moore, 
produced  in  1917  at  St.  Louis. 

'LOVE'S  SACRIFICE.'  A  pastoral  opera 
in  one  act  by  George  W.  Chadwick,  first  pro- 
duced in  1915. 

LOVETTE,  T.  S.  See  Colleges,  2  (Baylor 
C,  Tex.). 

LOVEWELL,  SAMUEL  HARRISON 
(Mar.  9,  1865,  Wellesley,  Mass.),  graduated 
from  the  Boston  schools  and  in  1891  from  the 
New  England  Conservatory.  From  that  time 
he  has  been  organist  at  a  succession  of  churches 
in  Easton,  Pa.,  Georgetown,  Ky.,  Columbia, 
S.  C,  Walla  Walla,  Wash.,  Quincy,  111.,  Jen- 
kintown,  Pa.,  and  (from  1917)  Taunton,  Mass. 
In  all  these  positions  he  has  given  frequent 
recitals  on  piano  or  organ,  often  with  lectures. 
In  1893-96  he  was  music-director  at  the 
College  for  Women  in  Columbia,  S.  C,  in 
1898-1906  at  Whitman  College  in  Walla 
Walla,  in  1906-11  of  the  Quincy  (111.)  Conser- 
vatory, and  from  1919  at  the  Tome  School, 
Port  Deposit,  Md.,  besides  for  some  years  being 
editor  for  C.  W.  Thompson  &  Co.,  Boston.    He 


LUCAS 


LUTKIN 


^6 


has  specialized  in  theory,  music-history  and  the 
training  of  boy-choirs.  His  compositions  in- 
clude a  sonata  in  F  minor,  a  Credo  for  soprano 
and  chorus,  a]Ilomanza,  etc.  He  has  translated 
Riemann's  Single  and  Double  Counterpoint, 
History  of  Notation  and  History  of  Music,  5 
vols,  (only  the  first  published).     [  R.8  ] 

LUCAS,  CLARENCE  (Oct.  19,  1S6G,  Niag- 
ara, Ont.).  See  article  in  Vol.  ii.  776.  By 
invitation  of  Richard  Mansfield  he  came  to 
America  to  conduct  Grieg's  music  for  the  pro- 
ductions of  'Peer  Gynt.'  In  1903  he  became 
London  correspondent  of  the  New  York  '  Mus- 
ical Coiu-ier'  and  later  associate-editor,  with 
headquarters  in  New  York.  In  1919  he  re- 
turned to  London  again  as  special  correspond- 
ent. To  the  list  of  works  add  six  operas  (not 
given),  and  many  songs,  and  pieces  for  piano 
or  violin  and  piano.  The  Fantasy  and  Fugue, 
op.  22,  is  often  played  by  Hambourg  and  other 
artists.     [  R.7  ] 

LUCAS,  GEORGE  W.  (1800-  ?  ).  See 
Register,  3. 

'LUCILLE.'     See  'Antonio.' 

LUCKSTONE,  ISIDORE  (b.  1861).  See 
Register,  7. 

LUDDEN, : WILLIAM  (1823-  ?  ).  See 
Register,  4. 

LUKKEN,  ALBERT.  See  State  Univer- 
sities (Wyo.). 

LUND,  JOHN  REINHOLD  (Oct.  20,  1859, 
Hamburg,  Germany),  after  general  education 
at  the  Johanneum  in  Hamburg,  studied  piano 
with  Conrad  Dinkier  there  and  in  1880 
graduated  at  the  Leipzig  Conservatory, 
where  his  teachers  were  Reinecke,  Paul, 
Richter  and  Wenzel.  In  1880-83  he  was 
chorus-master  at  the  Bremen  Opera  House 
and  for  a  year  assistant-conductor  at  the 
Stettin  Stadt-Theater.  In  1884  he  came  to 
the  Metropolitan  Opera  House  in  New  York 
as  assistant  to  Leopold  Damrosch.  In  1887 
he  went  to  Buffalo  as  conductor  of  the  Buffalo 
Symphony  Orchestra  and  the  Orpheus  Society. 
In  1903  he  directed  Victor  Herbert  operas  and 
toured  with  various  companies  until  1914, 
when  he  returned  to  the  Buffalo  Orpheus  and 
the  municipal  orchestra-concerts.  He  has 
composed  'Der  Germanenzug,'  'Ein  Griech- 
isches  Kriegslied,'  'Kaiser  Karl'  and  'Spring- 
Morning,'  all  for  soli,  chorus  and  orchestra; 
an  Intermezzo,  'Liebeslied'  and  'Im  Garten' 
for  string-orchestra ;  a  suite,  sonata  and 
many  pieces  for  piano ;  songs  and  choruses. 
[  R.7  ] 

LUSSAN,  ZlfiLIE  DE  (b.  1863).  See  Reg- 
ister, 7. 

LUTKIN,  PETER  CHRISTIAN  (Mar. 
27,  1858,  Thompsonville,  Wis.),  of  Danish 
stock,  was  brought  up  in  Chicago,  where 
from  1868  he  was  solo  alto  in  the  pioneer 
boy-choir  of  the  Interior  at  the  (P.  E.)  Cathe- 


dral, went  to  the  choir-school  and  at  fourteen 
became  organist,  though  still  not  technically 
trained.  Then  he  studied  with  Mrs.  Watson, 
Gleason  and  Eddy,  and  in  1879-81  taught 
piano  at  Northwestern  University  in  Evanston. 
In  1881-84  he  was  in  Berlin,  taking  piano  with 
Raif ,  theory  with  Bargiel  and  organ  with  Haupt 
(mostly  at  the  Hochschule)  and  winning  a 
scholarship  at  the  Royal  Academy,  in  1883 
studying  piano  with  Stepanov  at  Vienna  and  in 
1884  piano  and  composition  with  Moszkowski 
at  Paris.  In  1884-91  he  was  organist  at  St. 
Clement's  in  Chicago  and  in  1891-97  at  St. 
James'.  In  1888-92  he  also  taught  theory  at  the 
American  Conservatory,  and  in  1891  entered 
upon  what  has  been  his  life-work  —  the 
development  of  the  School  of  Music  in  North- 
western University,  of  which  he  has  been  dean 
since  1895.  Besides  bringing  this  School  to 
great  efficiency,  he  has  steadily  built  up  public 
interests,  since  1893  conducting  the  Evanston 
Musical  Club  and  in  1894-1901  another  in 
Ravenswood.  These  choral  societies,  with 
the  noted  A  Cappella  Choir  of  the  School  and 
its  orchestral  forces,  supplied  the  means  for 
the  establishment  in  1908  of  the  Chicago  North 
Shore  Festivals,  which  are  recognized  as 
among  the  best  of  their  kind.  He  was  a 
founder  of  the  A.  G.  O.  in  1896,  received  a 
Mus.D.  from  Syracuse  University  in  1900, 
has  been  always  active  in  the  M.  T.  N.  A. 
(president  in  1911  and  1920)  and  vice-presi- 
dent of  the  American  branch  of  the  I.  M.  S. 
Besides  papers  and  articles  on  various  subjects, 
in  1908  he  lectured  at  the  Western  Theological 
Seminary  in  Chicago,  his  lectures  coming  out 
as  Music  in  the  Church,  1910.  He  has  been 
one  of  the  editors  of  both  the  Methodist 
and  the  Episcopal  Hymnals  (1905,  '18).  His 
compositions  include 

Comrtmnion  Service  in  C  (Gray). 

Festival  Te  Deum  in  A  (Gray). 

Te  Deum  in  C  (Novello). 

Te  Deum  in  B-flat  (Summy). 

Te  Deum,  'Peace'  (1919),  first  given  at  the  North 
Shore  Festival  (Gray). 

Magnificat  and  Nunc  Dimittis  in  G,  eight  parts 
a  cappella  (Gray). 

Magnificat  and  Nunc  Dimittis  in  C  (Gray). 

Festival  Magnificat  and  Nunc  Dimittis  in  B-fiat 
(Summy). 

Magnificat  in  E  minor,  a  cappella. 

Jubilate  in  C  (Novello). 

Psalm  51,  for  soli,  chorus  and  organ. 

Psalm  137,  a  cappella  (Gray). 

Many  anthems  —  'Kingdom  of  Light,'  'What 
Jesus  Said,'  a  cappella,  '  I  will  sing  of  Thy 
power,'  a  cappella  (all  Gray)  ;  'The  day  is  past 
and  over'  (Novello) ;  'The  Lord  shall  comfort 
Zion,'  'Like  as  a  father,'  a  cappella,  'O  Paradise,' 
a  cappella,  'O  little  town  of  Bethlehem'  (all 
Summy)  ;   besides  carols,  etc. 

Two  sacred  trios  for  children  (Silver,  Burdett  &  Co.). 

Many  part-songs  and  songs  (part  Summy). 

'Romance,'  for  'cello  (Summy),  or  string-quartet 
for  violin  and  orchestra. 


276 


LYMAN 


LYON  &  HEALY 


Nine  Organ-Preludes  based  on  hymn-tunes  (Gray), 
ftocessional  March,  for  organ.  [  R.6  ] 

LYMAN,  RALPH  HAINE  (b.  1883).  See 
State  Universities  (Ore.)  and  Colleges,  3 
(Pomona  C,  Cal.). 

LYNES,  FRANK  (1858-1913).  See  Regis- 
ter, 7. 

LYON,  JAMES  (1735-1794).  See  Regis- 
ter, 1,  and  Tune-Books,  1759. 

LYON  &  HEALY,  of  Chicago,  was  estab- 
lished in  1864  by  Oliver  Ditson,  the  Boston 
music-publisher,  as  a  western  branch,  the  two 
partners  being  George  W.  Lyon  and  Patrick 


J.  Healy  (d.  1905),  both  previously  in  the 
Boston  store.  They  soon  began  to  deal  ex- 
tensively in  instruments,  including  those  for 
bands,  and  entered  the  field  of  piano-making 
with  the  Lyon  &  Healy  and  Washburn  pianos, 
building  up  a  varied  business  of  immense  propor- 
tions. They  also  became  a  headquarters  for  rare 
and  remarkable  instruments,  and  one  of  the 
finest  makers  of  harps  in  the  world.  The  cap- 
ital is  now  $3,000,000  and  the  president  Robert 
B.  Gregory.  The  offices  and  salesrooms  are  at 
Wabash  Avenue  and  Jackson  Boulevard  and 
the  piano-works  on  Fullerton  Avenue. 


M 


MAAS,  GERALD  CHRISTOPHER  (b. 
1888).     See  Register,  10. 

MAAS,  LOUIS  PHILIPP  OTTO  (June 
21,  1852,  Wiesbaden,  Germany  :  Sept.  18, 
1889,  Boston),  the  son  of  a  music- teacher,  be- 
gan piano-playing  early.  The  family  moved 
to  England  and  he  graduated  at  King's  College 
in  London.  In  1867  he  entered  the  Leipzig 
Conservatory,  where  he  had  four  years  with 
Reinecke  and  Papperitz.  An  overture  was 
performed  at  the  Gewandhaus  in  1868  and 
a  symphony  in  1872.  He  taught  in  the 
Kullak  Academy  in  1873-74,  studying  with 
Liszt  in  the  summer,  and  in  1875-80  was 
piano-teacher  at  the  Leipzig  Conservatory. 
After  1880  he  lived  in  Boston,  teaching  at 
the  New  England  Conservatory  and  in 
1881-82  conducting  the  Philharmonic  Or- 
chestra. He  was  an  excellent  pianist,  often 
heard  in  recitals,  and  a  teacher  of  exceptional 
ability.  He  composed  'On  the  Prairies,'  an 
American  Symiphony  (1883),  overtures  and 
other  orchestral  music,  a  string-quartet,  a 
piano-concerto,  three  sonatas  and  other  piano- 
pieces  and  songs.     [  R.7  ] 

MAAS,  MARGUERITE  WILSON  (b. 
1888).     See  Register,  10. 

MACBETH,  FLORENCE  (b.  1891).  See 
Register,  10. 

MacCOLLIN,  PAUL.  See  Colleges,  3 
(Morningside  C,  Iowa). 

tMAcCUNN,  HAMISH  (Mar.  22,  1868, 
Greenock,  Scotland  :  Aug.  2,  1916,  London). 
See  article  in  Vol.  iii.  3.  He  was  Beecham's 
assistant  from  1910  at  Covent  Garden  and  His 
Majesty's  and  from  1915  at  the  Shaftesbtiry. 
In  1912  he  succeeded  Coleridge-Taylor  as  pro- 
fessor of  composition  and  director  of  the  opera- 
class  at  the  Guildhall  School  of  Music.  In  his 
later  years  he  was  not  much  engaged  upon 
composition. 

MACDOUGALL,  HAMILTON  CRAW- 
FORD (Oct.  15,  1858,  Warwick,  R.  I.),  was 
trained  by  Bonner,  Sherwood,  S.  B.  Whitney 
and  Lang.  From  1874  he  was  organist  in 
Providence  and  in  1895-1900  at  Harvard 
Church  in  Brookline,  Mass.  He  was  the 
second  American  to  become  an  associate  of 
the  R.  C.  O.  (1883)  and  in  1896  was  a  founder 
of  the  A.  G.  O.  —  in  1908-11  dean  of  the  New 
England  Chapter.  He  has  been  active,  also, 
in  the  M.  T.  N.  A.  and  other  educational 
bodies,  has  repeatedly  given  series  of  lectures 
at  Brown  University,  at  the  Brooklyn  In- 
stitute of  Arts  and  Sciences,  and  at  the  Sum- 
mer School  of  Church  Music  at  Cambridge. 
Brown  University  made  him  Mus.D.  in  1901. 
Since  1900  he  has  been  professor  at  Wellesley 
College,   where   he   has   brought   the   music- 


department  to  a  high  pitch  of  organization 
and  efficiency,  besides  exercising  his  notable 
ability  as  organist  and  choirmaster.  His 
compositions  include  publications  like  a  festival 
setting  of  'Onward,  Christian  soldiers'  for 
bass,  chorus  and  orchestra  (Presser),  many 
anthems  for  mixed  or  men's  chorus,  several 
songs  and  part-songs,  and  'The  Red  Cross 
Knight,'  for  men's  chorus.  He  has  also  writ- 
ten a  piano-trio  in  F  minor,  a  Scherzo  in 
A,  Psalm  95  for  tenor,  bass,  chorus  and  organ, 
much  music  for  the  Masonic  ritual,  etc.  He 
has  published  Stvdies  in  Melody-Playing,  2 
vols.  (Presser) ,  The  National  Graded  Course  for 
Pianists,  7  vols.  (Hatch)  and  Studies  for  the 
Left  Hand  (Ditson) .  He  has  also  contributed 
often  to  musical  periodicals,  especially  upon 
organ-  and  piano-playing  and  church-music. 
[R.6  ] 

MacDOWELL,  EDWARD  ALEXANDER 
(Dec.  18,  1861,  New  York  :  Jan.  23,  1908, 
New  York).  See  article  in  Vol.  iii.  4r-6.  He 
first  appeared  in  America  as  pianist  with  the 
Kneisel  Quartet  in  Boston  on  Nov.  19,  1888, 
playing  three  movements  of  his  1st  Suite  and 
Goldmark's  Quintet  in  B-flat.  On  Mar. 
5,  1889,  he  played  his  2nd  Concerto  with  the 
Thomas  Orchestra  in  New  York,  and  also 
in  April  with  Gericke  and  the  Boston  Sym- 
phony Orchestra  and  in  July  with  Van  der 
Stucken  at  an  American  concert  in  Paris. 
His  'Indian'  Suite  was  first  given  on  Jan. 
23,  1896,  by  the  Boston  Symphony  Orchestra 
at  the  Metropolitan  Opera  House  in  New  York. 
To  the  list  of  works  add  the  'Prologue'  and 
'Epilogue'  to  op.  38  (as  in  revised  edition), 
'In  October'  as  the  third  movement  of  op. 
42,  and  the  following  early  works,  published 
under  the  pen-name  'Edgar  Thorn': 

op.    1    'Amourette,'  for  piano. 

2  'In  Lilting  Rhythm,' for  piano. 

3  'Love  and  Time'  and  'The  Rose  and  the 
Gardener,'  for  men's  chorus  a  cappella. 

4  'Forgotten  Fairy-Tales,'  for  piano  —  'Sung 
outside  the  Prince's  Door,'  'Of  a  Tailor 
and  a  Bear,'  'Beauty  in  the  Rose-Garden,' 
'From  Dwarfland.' 

5  'The  Witch,'  for  men's  chorus  a  cappella. 

6  'War-Song,'  for  men's  chorus  a  cappella. 

7  Six  Fancies  for  piano  —  'A  Tin  Soldier's 
Love,'  'To  a  Humming-Bird,'  'Summer- 
Song,'  'Across  Fields,'  'Bluette,'  'An 
Elfin  Round.' 

8  Waltz  for  piano  (announced  in  1895  by 
Breitkopf,  but  did  not  appear). 

His  lectures  at  Colimabia  have  been  edited  by 
W.  J.  Baltzell  as  Critical  and  Historical  Essays, 
1911.  Additional  biographies  and  mono- 
graphs are  E.  F.  Page,  Edward  MacDowell, 
His  Works  and  Ideals,  1910,  T.  P.  Currier, 
'MacDowell  as  I  Knew  Him'  in  'The  Musical 
277 


278     MacDOWELL  ASSOCIATION 


MACKENZIE 


Quarterly,'  January,  1915,  O.  G.  Sonneck, 
'MacDowell  versus  MacDowell'  in  M.T.N. A. 
Proceedings,  1911,  and  also  in  Suum  Cuique, 
1916,  and  Sonneck,  Catalogue  of  First  Editions 
of  Edward  MacDowell,  1917,  besides  numerous 
chapters  and  passages  in  historical  and  criti- 
cal books.  Regarding  his  'Indian'  Suite  Cad- 
man  has  the  following  passage  in  an  article 
on  Indian  music  in  'The  Musical  Quarterly,' 
July,  1915: 

'  I  regard  the  '  Indian'  Suite  an  ideal  guide  for  those 
who  would  build  upon  Indian  themes.  MacDowell 
has  first  of  all  given  us  charming  music,  fascinating 
and  well-conceived  music,  aside  from  any  color  or 
atmosphere  one  may  discover  in  its  measures.  It  is 
not  a  mere  ethnological  report  set  to  music.  It  is 
a  distinct  art-work  and  every  movement  conveys 
a  definite  picture  of  Indian  life.  The  method  of 
idealization  is  not  abstruse.  One  can  quickly  discern 
the  source  of  the  themes  —  they  are  borrowed  deftly 
from  an  ethnological  paper  by  Dr.  Theodore  Baker, 
together  with  some  other  material.  In  the  next 
place,  MacDowell  did  not  over-idealize  or  under- 
idealize  (if  these  terms  may  be  permitted)  since  there 
is  a  happy  balance  of  musical  values  —  of  atmosphere 
obtained,  of  triumph,  of  dignity,  even  of  melancholy, 
wedded  to  finely  conceived  contrasts  and  dynamics. 
Whether  Mr.  MacDowell  ever  seriously  studied  the 
subject  of  Indian  folk-lore  or  folk-music  I  do  not 
know.  But  I  do  know  that  he  has  had  the  genius 
to  produce  a  work  based  on  good  thematic  material, 
soundly  worked  out  and  withal  pleasing  to  every 
musician  and  music-lover.  And  it  rings  true  I  It 
is  the  best  orchestral  illustration  extant,  I  think,  of 
what  may  and  what  may  not  be  done  with  Indian 
folk-tunes.  It  serves  to  show,  too,  that  it  is  possible 
to  write  music  which  reflects  the  oddities,  the  char- 
acteristics of  Indian  rhythm  and  melody,  and  at  the 
same  time  to  create  something  that  may  be  analyzed 
freely  as  music' 

Enthusiasm  for  MacDowell's  music  and 
reverence  for  his  memory  have  expressed 
themselves  in  various  ways,  as  in  the  formation 
of  MacDowell  Clubs  in  several  places,  in  the 
MacDowell  Chorus  in  New  York  (1909)  and 
especially  in  the  MacDowell  Memorial  Associa- 
tion, with  its  artistic  headquarters  at  the 
MacDowell  summer-home  at  Peterboro,  N.  H., 
and  the  annual  festivals  held  there  since  1910. 
[  R.7  ] 

MacDOWELL  MEMORIAL  ASSOCIA- 
TION, THE,  was  formed  soon  after  Mac- 
Dowell's death,  largely  to  carry  out  his  own 
idea  concerning  his  summer-home  at  Peter- 
boro, N.  H.  To  the  Association  Mrs.  Mac- 
Dowell transferred  the  property  that  it  should 
be  'a  center  of  interest  to  artists  working  in 
varied  fields,  who,  being  there  brought  into 
contact,  may  learn  to  appreciate  fully  the 
fundamental  unity  of  the  separate  arts.'  Be- 
sides becoming  a  summer-colony  of  distinctive 
character,  this  headquarters  has  since  1910 
been  the  scene  of  an  annual  festival,  chiefly 
musical,  at  which  a  variety  of  works,  vocal  and 
instrumental,  by  different  composers  have  been 
given  in  a  forest-setting.    In  1910  and  '19  there 


was  an  elaborate  pageant,  the  music  by 
Chalmers  Clifton. 

MACFARLANE,  WILLIAM  CHARLES 
(Oct.  2,  1870,  London,  England),  was  the  son 
of  Duncan  Macfarlane  (1836-1916),  who 
became  a  naturalized  American  citizen  in 
1858.  He  had  his  whole  education  in  New 
York.  Besides  early  lessons  from  his  father, 
he  studied  organ  and  theory  with  S.  P.  Warren 
in  1886-90.  He  was  a  choir-boy  at  Christ 
Church  and  in  1886  appeared  as  concert- 
organist  at  Chickering  Hall.  From  1885  he 
held  various  positions  as  organist,  notably 
in  1889-1900  at  All  Souls',  in  1898-1912  at 
Temple  Emanu-El  and  in  1900-12  at  St. 
Thomas'.  In  1912-19  he  was  municipal  or- 
ganist at  Portland,  Me.,  where  he  annually 
gave  about  40  recitals  of  high  quality  and 
conducted  various  other  musical  under- 
takings. In  1896  he  was  one  of  the  founders 
of  the  A.  G.  O.  and  in  1897  won  its  Clemson 
medal  for  an  anthem.  In  1911,  '14  and  '17 
he  also  took  the  Kimball  prize  of  the  Chicago 
Madrigal  Club  for  a  cappella  works.  In 
1918  Bates  College  made  him  Mus.D.  His 
organ-works  include  a  Meditation,  Reverie, 
Spring-Song,  Cradle-Song,  Scotch  Fantasia 
and  Scherzo,  and  he  has  written  the  cantata 
'The  Message  of  the  Cross'  (1907),  the 
operettas  'Little  Almond-Eyes'  and  'Swords 
and  Scissors,'  anthems,  songs  and  part-songs. 
[  R.7  ] 

MACKAY,  JOHN  (d.  1841).  See  Register, 
3. 

{MACKENZIE,  ALEXANDER  CAMP- 
BELL (Aug.  22,  1847,  Edinburgh,  Scotland). 
See  article  in  Vol.  iii.  9-11.  His  work  for 
the  Royal  Academy  of  Music,  of  which  he 
has  been  principal  since  1888,  was  crowned 
in  1912  by  the  erection  of  a  magnificent  build- 
ing at  York  Gate,  Marylebone  Road.  He 
was  president  of  the  International  Musical 
Society  in  1908-12,  including  the  congresses 
at  Vienna  (1909)  and  London  (1911),  and 
president  of  the  R.  C.  O.  in  1914-16.  He  is 
an  honorary  member  of  the  Accademia  di 
S.  Cecilia  in  Rome.  To  the  list  of  works 
should  be  added 

op.   68  Suite  for  violin  and  orchestra  (also  piano). 

69  Cantata,  'The  Sun-God's  Return'   (1910, 

Cardiff,  1911,  Sing-Akademie,  Vienna). 

70  Fantasie  for  pianoforte. 

71  Four  Part-Songs. 

72  Air  de  Ballet,   'La  Savannah,'  for  orches- 

tra (also  piano). 

73  Three  Trios  for  women's  voices. 

74  Scottish  Rhapsody  No.  3,  'Tarn  o'  Shan- 

ter '  for  orchestra. 

75  'An  English  Joy-Peal'  for  orchestra. 

76  'Invocation'  for  orchestra. 

77  'Perfection,' part-song. 

78  'The     Walker     of     the   Snow,'   song   for 

baritone. 

79  Four  Songa  from  Tennyson. 


MACLEAN 


MAGNUSSON 


279 


op.   80  Four  Dance-Measures  for  violin  and  piano. 

81  An  English  Air  with  variations,  for  piano. 

82  Ancient  Scots  Tunes,  for  strings. 

83  '  Odds  and  Ends,'  for  piano. 

84  '  Jottings,'  2  books,  for  piano. 

85  Three  School  Part-Songs. 

86  Six  Easy  Impromptus  for  violin. 

87  Opera,  '  St.  John's  Eve,'  in  one  act  (1919). 
—  Oratorio,  '  The  Temptation  '  (1915). 

MACLEAN,  JOSEPH.  See  Colleges,  2 
(Agnes  Scott  C,  Ga.). 

MACLENNAN,  FLORENCE  GER- 
TRUDE, nee  Easton  (Oct.  25,  1884,  Middles- 
brough, England),  was  brought  to  Toronto  in 
childhood,  had  her  general  education  there 
and  at  ten  appeared  as  child-pianist.  She 
was  trained  as  stage-soprano  at  the  Royal 
Academy  in  London  and  by  Haslam  in  Paris, 
made  her  d6but  in  'Madama  Butterfly'  in 
1903  in  London,  in  1904-07  was  touring  in 
America  with  the  Savage  Opera  Company, 
in  1907-15  was  a  leading  singer  at  the  Berlin 
and  Hambiu-g  Opera  Houses,  as  well  as  in 
London,  in  1915-17  was  with  the  Chicago 
Opera  Company  and  since  then  at  the  Metro- 
politan Opera  House  in  New  York.  Roles 
that  she  'created'  include  Beatrice  in  Naylor's 
'The  Angelus'  (1909),  Natoya  in  Nevin's 
'Poia'  (1910),  Elektra  in  Strauss'  'Elektra' 
(English  premiere,  1910),  Elisabeth  in  Liszt's 
oratorio  (American  premiere  as  opera,  1918), 
etc.  Her  favorite  roles  are  Aida,  Carmen, 
Elsa,  Sieglinde,  Cio-Cio-San,  Elektra  and  Sa- 
lome. In  1904  she  married  the  tenor  Fran- 
cis Maclennan,  and  they  have  regularly  sung 
together.     [  R.9  ] 

MACLENNAN,  FRANCIS  (Jan.  7,  1879, 
Bay  City,  Mich.),  was  developed  into  an  em- 
inent operatic  tenor  by  Dufft  and  Tamaro 
in  New  York,  Henschel  in  London  and  Eme- 
rich  in  Berlin.  In  1902  he  made  his  debut 
in  London  as  Faust,  in  1904-07  sang  in  'Par- 
sifal '  and  '  Madama  Butterfly '  in  the  United 
States  with  the  Savage  Opera  Company,  in 
1907-15  was  at  the  Royal  Opera  in  Berlin 
(the  first  American  to  sing  Tristan  in  Germany) 
and  the  Stadt-Theater  in  Hamburg,  in  1915-17 
with  the  Chicago  Opera  Company  (mostly 
Wagnerian  roles)  and  from  1917  at  the  Metro- 
politan Opera  House  in  New  York.  He  has 
a  large  repertory  and  excels  in  Wagner  and 
Verdi  works.  In  1904  he  married  the  soprano 
Florence  Easton,  and  since  then  they  have 
been  constantly  associated  in  both  opera  and 
song-recitals.     [  R.9  ] 

MACMILLEN,  FRANCIS  (Oct.  14,  1885, 
Marietta,  O.),  was  trained  as  violinist  from 
childhood,  having  lessons  from  Bernhard 
Listemannin  Chicago,  in  1895-99  from  Markees 
and  Joachim  in  Berlin,  in  1900-02  from 
Thomson  in  Brussels,  where  he  took  two 
prizes,  and  then  from  Flesch  and  Auer  in 
Petrograd.     In    1903    he    made    appearances 


in  Brussels  and  London  and  in  1906  with  the 
New  York  Symphony  Society.  Since  then 
he  has  made  five  notable  tours  in  the  United 
States,  but  in  1911-14  was  in  Europe.  Every- 
where he  has  played  with  the  leading  orches- 
tras and  has  given  many  recitals.  For  the 
violin  he  has  written  a  Barcarolle,  a  '  Serenade 
N5gre,'  'Causerie,'  'Liebeslied,'  'Nijinsky' 
and  other  pieces,  besides  arrangements  (all 
Carl  Fischer).     [  R.9  ] 

JMACPHERSON,  CHARLES  (May  10, 
1870,  Edinburgh,  Scotland).  See  article  in 
Vol.  iii.  11-2.  In  1916,  after  Martin's  death, 
he  was  advanced  to  be  organist  at  St.  Paul's. 
In  1914  he  was  conductor  of  the  London 
Chm-ch  Choir  Association.  He  is  a  fellow  of 
the  R.  A.  M.  and  the  R.  C.  O.  Among  recent 
works  are  an  'Overture  on  Jacobite  Airs,'  a 
'Fantasy  on  Scotch  Tunes,'  some  organ- 
pieces,  much  church-music  and  part-songs. 

MADEIRA,  LOUIS  CEPHAS.  See  Regis- 
ter, 4. 

'MADELEINE.'  An  opera  in  one  act  by 
Victor  Herbert  on  a  text  adapted  from  the 
French  by  Grant  Stewart.  It  was  first  pro- 
duced at  the  Metropolitan  Opera  House  in 
New  York  on  Jan.  24,  1914,  and  three  times 
repeated. 

MADISON  CHORAL  UNION,  THE,  of 
Madison,  Wis.,  was  founded  in  1893,  largely 
through  the  efforts  of  President  Charles  K. 
Adams  of  the  University  of  Wisconsin,  with  a 
desire  to  unite  musical  interests  in  the  Univer- 
sity and  the  city.  The  conductors  have  been 
Fletcher  A.  Parker  in  1893-1907,  Rossetter  G. 
Cole  in  1907-09,  Elias  A.  Bredin  in  1909-10, 
Louis  A.  Coerne  in  1910-15,  Peter  W.  Dykema 
in  1915-18,  and  Irving  W.  Jones  since  1918. 
The  membership  has  ranged  from  75  to  300, 
with  an  average  of  perhaps  150.  Two  concerts 
are  usually  given  each  year,  with  additional 
ones  in  years  when  a  festival  has  been  held. 
The  University  provides  the  conductor  and 
place  of  rehearsal.  The  Union  has  lately 
made  a  feature  of  Yule-tide  Festivals  with 
emphasis  upon  the  'community'  spirit. 

MAERZ,  JOSEPH  (b.  1883).  See  Col- 
leges, 2  (Wesleyan  Female  C,  Ga.). 

t  MAGNARD,  LUCIEN  DENIS  GABRI- 
EL ALBfiRIC  (June  9,  1865,  Paris,  France  : 
Sept.  3,  1914,  Baron,  France).  See  article  in 
Vol.  iii.  23.  To  the  list  of  works  add  the  opera 
'Berenice'  (1911,  Opera-Comique,  libretto  by 
the  composer)  and  a  sonata  for  'cello  and  piano 
(1910).  According  to  Ernest  Daudet  (Chron- 
icles of  1915  and  1916),  he  was  killed  while  de- 
fending his  home  from  the  depredations  of  a 
troop  of  German  soldiers.  A  number  of  manu- 
scripts including  the  opera  'Guercoeiu-,'  are 
said  to  have  been  carried  away  by  the  latter. 

MAGNUSSON,  OSCAR  MAGNUS.  See 
Colleges,  3  (Upsala  C,  N.  J.). 


280 


MAGUENAT 


MANCHESTER 


MAGUENAT,  ALFRED.    See  Register,  10. 

MAGUIRE,  J.  FRANCIS.  See  Colleges, 
3  (Northwestern  C,  111.). 

MAHLER,  GUSTAV  (July  7,  1860,  Ka- 
lischt,  Bohemia  :  May  11,  1911,  Vienna). 
See  articles  in  Vols.  iii.  27-8,  and  v.  652.  In 
New  York  he  first  conducted  at  the  Metro- 
politan Opera  House  on  Jan.  1,  1908,  the  opera 
being  'Tristan,'  and  in  November  and  De- 
cember he  led  the  Symphony  Society  three 
times,  producing  at  the  second  his  2nd  Sym- 
phony. The  operas  given  under  him  were 
various  Wagnerian  works,  'Don  Giovanni,' 
'Le  Nozze  di  Figaro,'  'Fidelio,'  'The  Bartered 
Bride'  and  'Pique  Dame'  (the  last  two  being 
American  premieres).  His  reorganization  of 
the  Philharmonic  Society  in  1909-11  was 
thorough  and  effective,  but  interrupted  at 
the  end  by  ill-health.  His  sudden  death  was 
from  heart-trouble,  complicated  by  pneumonia. 

His  8th  Symphony  (first  given  in  1910  at 
the  Munich  Exposition  under  the  composer) 
was  produced  in  1916  in  Philadelphia  under 
Stokowski,  who  conducted  from  memory, 
with  an  orchestra  of  110,  eight  soloists,  a 
divided  chorus  of  800  and  a  children's  chorus 
of  150.  It  was  thrice  repeated  there  and 
also  at  the  Metropolitan  Opera  House  in  New 
York.  In  1917  it  was  given  in  Chicago  under 
Stock  with  still  larger  forces.  The  9th 
Symphony  was  first  performed  in  1912  at 
the  Vienna  Festival  imder  Bruno  Walter,  and 
also  given  in  1913  by  the  Berlin  Philharmonic 
under  Oskar  Fried.  It  was  not  fully  com- 
pleted or  at  least  revised  by  the  composer. 
In  his  will  he  is  said  to  have  directed  that  all 
material  for  the  10th  Symphony  should  bo 
destroyed.     The  list  of  his  works  is  as  follows  : 

For  orchestra  and  chorus  — 

'Das  klagende  Lied,'  for  soprano,  alto  and  tenor, 
chorus  and  orchestra. 

Symphony  No.  1,  in  D  (1891). 

Symphony  No.  2,  in  C  minor  —  with  alto  and 
chorus  (1895). 

Symphony  No.  3,  in  D  minor  —  with  alto,  women's 
and  boys'  choruses  (1896). 

Symphony  No.  4,  in  G  —  with  soprano  (1901). 

Symphony  No.  5,  in  C-sharp  minor  (1904). 

Symphony  No.  6,  in  A  minor  (1906). 

Symphony  No.  7,  in  E  minor  (1908). 

Symphony  No.  8,  in  E-flat  —  with  seven  soloists, 
two  choruses  and  boys'  chorus  (1910). 

'Das  Lied  von  der  Erde,'  for  tenor  and  alto  (or 
baritone)  and  orchestra. 

Symphony  No.  9,  in  D  (1912). 
For  voice  and  orchestra  — 

'  Des  Knaben  Wunderhorn '  —  '  Der  Schildwache 
Nachtlied,'  '  Verlorne  Miih','  'Trost  im  Ungluck,' 
'War  hat  dies  Liedlein  erdacht,'  'Das  irdische 
Leben,'  'Des  Antonius  von  Padua  Fischpredigt,' 
'Rheinlegendchen,'  'Lied  des  Verfolgten  im 
Turme,'  'Wo  die  schonen  Trompeten  blasen,' 
'Lob  des  hohen  Verstandes,'  'Es  sungen  drei 
Engel  einen  siissen  Gesang,'  'Urlicht'  (alto  solo 
from  2nd  Symphony) ;  also  '  Revelge,'  '  Der 
Tambourg'seU.' 


'Lieder  eines  fahrenden  Gesellen'  (words  by 
composer)  — '  Wenn  mein  Schatz  Hochzeit 
macht,'  'Ging  heut'  Morgan  iiber's  Feld,'  'Ich 
hab'  ein  gliihend  Massar,'  '  Die  zwei  blauen  Augen 
von  meinem  Schatz.' 

'Kindertotenlieder'  (Riickert)  —  'Nun  will  die 
Sonn'  so  hell  aufgeh'n,'  '  Nun  seh'  ich  wohl, 
warumso  dunkle  Flammen,'  'Wenndein  Miitter- 
lein,'  'Oft  dank'  ich,  sia  sind  nur  ausgegangen,' 
'In  diesem  Wetter.' 

'Five   Lyrics'    (Riickert)  —  'Blicke   mir   nicht   in 
die    Lieder,'    'Ich    atmet'    einen    linden     Duft.' 
'Ich  bin  der  Welt  abhanden  gekommen,'  'Liebst 
du  um  Schonheit,'  'Um  Mitternacht.' 
For  voice  and  piano  —  (all  Schott) 

'Friihlingsmorgan'  and  'Erinnerung,'  from  R. 
Leander. 

'Hans  und  Grete,'  folk-song. 

Serenade  and  Phantasie  from  Tirso  de  Molina's 
'Don  Juan.' 

'  Des  linaben  Wunderhorn '  —  '  Um  schlimma 
Kinder  artig  zu  machen,'  'Ich  ging  mit  Lust 
durch  einen  griinen  Wald,'  'Aus!  Aus!,'  'Starke 
Einbildungskraft,'  'Zu  Strassburg  auf  der 
Schanz,'  'Ablosung  im  Sommer,'  'Scheidenund 
Meiden,'  'Nicht  wiedersehen  ! '  'Selbstgefiihl.' 
Arrangements  — 

Weber's  'Die  drai  Pintos'  (Kahnt). 

Mozart's  'Die  Hochzeit  des  Figaro'  (Paters). 

Suite  from  Bach's  orchestral  works,  with  continuo 
filled  out  (Schirmer). 

Biographies  have  appeared  by  Schiedermair, 
1900,  Specht,  1905  (small),  Stefan,  1908  and 
1910-12  (in  English,  1913),  and  Specht,  1913, 
besides  numerous  articles,  etc.     [  R.9  ] 

MAHR,EMIL  (1851-1914).  See  Register,  7. 

MAIN,  HUBERT  PLATT  (b.  1839).  See 
Register,  5. 

MAITLAND,  ROBERT  GILLIES  (b. 
1875).     See  Register,  10. 

MAITLAND,  ROLLO  FRANCIS  (b.  1884). 
See  Register,  9. 

MALCHEREK,  KARL  AUGUST  (b.  1873). 
See  Register,  8. 

MALLET,  FRANCIS.     See  Register,  2. 

'MAN  IN  THE  FOREST,  THE.'  The 
first  of  the  '  Grove-Plays '  of  the  San  Francisco 
Bohemian  Club,  produced  in  1902.  The 
text  is  by  Charles  K.  Field  and  the  music  by 
Joseph  D.  Redding. 

MANCHESTER,  ARTHUR  LH^ING- 
STON  (Feb.  9,  1862,  Bass  River,  N.  J.),  had 
his  training  in  piano,  organ  and  theory  with 
Zeckwer  and  in  voice  with  Gilchrist,  Buss- 
mann  and  Tubbs.  Beginning  as  organist  at 
thirteen,  after  1882  he  has  held  a  series  of 
positions  as  head  of  music-schools  —  in  1882- 
86  at  the  Beaver  (Pa.)  Musical  Institute,  in 
1886-93  first  at  the  State  Normal  School  at 
Clarion,  Pa.,  and  then  at  Martha  Washington 
College  in  Virginia,  in  1904-13  at  Converse 
College  in  Spartanburg,  S.  C,  in  1913-18  at 
Southwestern  University  in  Georgetown,  Tex., 
and  since  1918  at  Hardin  College  in  Mexico, 
Mo.  In  1893-96  he  was  associate-editor  of 
'The  Etude'  in  Philadelphia  and  in  1896-1902 
editor    of    'The    Musician'    in    Boston.     In 


MANHATTAN  OPERA  HOUSE 


MANNES 


281 


1900-02  he  was  president  of  the  M.  T.  N.  A. 
and  active  in  extending  its  range  and  influence, 
in  1900-04  also  editing  'The  Messenger'  as 
its  official  organ.  While  at  Spartanburg  he 
was  conductor  of  the  choral  society  and  of 
the  annual  festivals.  At  intervals  he  has 
appeared  in  song-  and  lecture-recitals,  often 
with  emphasis  upon  the  work  of  Franz.  He 
has  always  been  interested  in  whatever  per- 
tains to  community-music,  and  prominent  in 
discussions  of  music-education  in  schools  and 
colleges.  He  published  Twelve  Lessons  on  the 
Fundamentals  of  Voice-Production  (Ditson), 
and  edited  for  the  Bureau  of  Education  a 
bulletin  on  Music-Education  in  the  United 
States,  1908.     [  R.7  ] 

MANHATTAN  OPERA  HOUSE,  THE, 
was  built  by  Oscar  Hammerstein  in  1906  on 
West  34th  Street,  New  York,  as  a  rival  of  the 
Metropolitan  Opera  House,  and  was  managed 
by  him  for  four  seasons,  1906-10.1 

The  ventm-e  was  audacious  and  picturesque, 
differing  from  its  competitor  in  that  it  lacked 
the  organized  support  of  society  leaders,  that 
it  eschewed  German  and  that  it  devoted  itself 
either  to  well-known  popular  favorites  or  to 
novelties  of  the  French  school.  Musically, 
the  marked  feature  for  the  first  three  seasons 
was  the  enthusiasm  and  genius  of  Cleofonte 
Campanini,  who  was  both  musical  manager 
and  conductor,  being  followed  in  1909  by 
Enriquez  de  la  Fuente.  From  the  start 
Hammerstein  was  fortunate  in  securing  many 
important  artists,  like  the  tenor  Bonci,  the 
bass  Renaud,  the  soprano  Bressler-Gianoli, 
and  for  a  time  both  Melba  and  Calve.  In 
the  second  season  he  introduced  Mary  Garden 
and  Tetrazzini,  besides  a  long  list  of  others. 
The  smaller  size  of  the  auditorium  as  compared 
with  the  Metropolitan,  and  the  exceptional 
perfection  of  the  ensemble,  made  many  of  the 
performances  extremely  effective. 

The  novelties  introduced  were  'Thais' 
(Nov.  24,  1907),  'Louise'  (Jan.  3,  1908), 
'Siberia'  (Feb.  6,  1908)  'Pelleas  et  Melisande' 
(Feb.  19,  1908),  'Le  Jongleur  de  Notre-Dame' 
(Nov.  27,  1908),  'La  Princesse  d'Auberge' 
(Mar.  10,  1909),  'Herodiade'  (Nov.  8,  1909), 
'Sapho'  (Nov.  17,  1909),  'Gris61idis'  (Jan. 
19,  1910)  and  'Elektra'  (Feb.  1,  1910),  be- 
sides several  interesting  revivals  of  works  not 
recently  given. 

In  1908  Hammerstein  broadened  his  field 
by  erecting  the  fine  Philadelphia  Opera 
House,  but  in  1910  he  sold  out  to  a  syndicate 
friendly  to  the  Metropolitan  interest,  agreeing 
not  to  undertake  grand  opera  in  New  York 
for  ten  years. 

1  In  1893  Hammerstein  used  the  same  name  for  an- 
other house,  also  on  34th  Street  and  built  for  the  same 
purpose,  which  he  sold  precipitately  after  but  a  fort- 
night's experiment. 


The  record  of  the  Manhattan,  as  given  by 
Krehbiel  {Chapters  of  Opera,  pp.  426-7),  is 
as  follows : 


2  2 


O  '-t 


Auber  — ■  Fra  Diavolo      ....       4 

Audran  — ■  Mascotte 1 

Bellini  —  Sonnambula     ....       3        .3 

Puritani 2        .       2 

Berlioz  —  Damnation  of  Faust     .        .       3        .        . 

Bizet  —  Carmen 19     11       2       6 

Blocks  — ■  Princesse  d'Auberge      .        .        .       3        . 

Charpentier  —  Louise 11       5      2 

Debussy  —  Pelleas  et  M61isande  ..743 

Delibes — Lakm6 1 

Donizetti — Elisir  d'Amore      .     .       3        .        .        . 

Lucia 6       8       7       7 

Fille  du  Regiment     ....       2 

Flotow  —  Martha 4 

Giordano — -Andrea  Ch^nier    ...       1         .        . 

Siberia 3 

Gounod  —  Faust 7       4        .3 

Lecocq  —  Fille  de  Mme.  Angot  ....  2 
Leoncavallo  —  Pagliacoi  ...  10  9  5  8 
Maillart  —  Dragons  des  Villars  .  .  .  .  2 
Mascagni  — •  Cavalleria   ....       8       4       3       4 

Massenet  —  H6rodiade 6 

Thais 7       7       6 

Navarraise   ....       2       5       1       2 

Sapho 3 

Griselidis 4 

Jongleur  de  Notre-Dame  ..75 
Meyerbeer  —  Huguenots     ...       5        .2 

Dinorah      ....       1        1 
Mozart  —  Don  Giovanni     ...       4       3 
Offenbach  —  Contes  d'Hoffmann  .        .11       7       8 
Planquette  —  Cloches  de  Corneville      ...       3 

Ponchielli  — Gioconda 4       . 

Puccini  —  BohSme 4        .55 

Tosca 5       3 

Ricci    brothers  —  Crispino    e    la 

Comare 3       3 

Rossini  —  Barbiere 2        .3 

Saint-Saens  —  Samson  et  Dalila  ...       6       2 

Strauss  —  Salome 10      4 

Elektra 7 

Thomas  —  Mignon 3 

Verdi — -Ernani 1         .4 

Rigoletto 11       5       5 

Trovatore 6       5       1       4 

Traviata 3       5       5       2 

Ballo  in  Maschera  ...       2       4 

Aida 12       9       2       3 

Otello 6 

Wagner — -Tannhiiuser 3 

MANN,  ELIAS  (1750-1825).  See  Tune- 
Books,  1778.  I 

MANNES,  CLARA,  nee  Damrosch  (b.  1869). 
See  Register,  7,  and  following  article. 

MANNES,  DAVID  (Feb.  16,  1866,  New 
York),  after  early  education  in  the  public 
schools,  studied  violin  with  Carl  Richter,  John 
Douglas  and  others,  with  summers  in  Europe, 
in  1891  with  De  Ahna  in  Berlin,  in  1892-3  with 
Halir  in  Berlin  and  in  1903  with  Ysaye  in 
Brussels.  From  1891  he  was  a  first  violinist  in 
the  Symphony  Society  and  in  1898-1912  its 
concertmaster.  In  1904  he  founded  the  Sym- 
phony Club  of  New  York,  which  he  still  con- 


282 


MANNEY 


MARGULIES 


ducts.  From  1902  he  was  head  of  the  violin- 
department  in  the  Music  Settlement  School  and 
its  director  in  1910-15.  In  1912  he  founded,  on 
similar  lines,  the  Music  School  Settlement  for 
Colored  People.  Since  1916  he  and  his  wife, 
nee  Clara  Damrosch,  have  conducted  the  David 
Mannes  Music  School.  With  her  he  has  since 
1900  given  many  striking  sonata-recitals,  not 
only  in  New  York,  but  in  other  large  cities  and 
(in  1913)  in  London.  In  recent  years  he  has 
been  director  of  the  concerts  at  the  Metropoli- 
tan Museum  of  Art.     [  R.7  ] 

MANNEY,  CHARLES  FONTEYN  (Feb.  8, 
1872,  Brooklyn),  had  his  general  education  at 
the  Brooklyn  Polytechnic  Institute  and  studied 
music  in  New  York  and  Boston  with  W.  A. 
Fisher,  Wallace  Goodrich  and  Goetschius. 
Since  1898  he  has  been  associate-editor  for  the 
Ditson  Company  in  Boston  and  conductor  of 
the  Footlight  Orchestra.  He  has  made  a  name 
as  composer  of  over  50  graceful  and  individual 
songs  (Ditson,  Schirmer,  Schmidt),  the  song- 
cycle  'A  Shropshire  Lad'  (Ditson),  the  cantatas 
'The  Manger-Throne'  and  'The  Resurrection' 
(both  Ditson),  about  15  anthems,  several  carols, 
secular  chorus  (Ditson),  piano-pieces  (Ditson), 
etc.  He  has  also  edited  Folk-Songs  and  Other 
Songs  for  Children,  and  made  translations  from 
French  and  German.     [  R.8  ] 

MANNING,  EDWARD  BETTS  (b.  1874). 
See  Register,  8. 

MANOLY,  LUDWIG  EMANUEL  (b.  1855). 
See  Register,  6. 

'MANRU'.  An  opera  by  Ignace  Jan  Pade- 
rewski  on  a  libretto  made  by  Dr.  Nossig  from  a 
Polish  romance.  It  was  first  produced  at 
Dresden  in  1901  and  repeated  in  other  Euro- 
pean cities.  Its  American  premiere  was  on 
Feb.  14, 1902,  at  the  Metropolitan  Opera  House, 
under  the  direction  of  Walter  Damrosch,  and 
it  was  twice  repeated. 

MANSFIELD,  BELLE  A.  See  Colleges, 
3  (DePauw  U.,  Ind.). 

MANSFIELD,  DANIEL  H.  (1810-  ?  ). 
See  Tune-Books,  1849. 

MANSFIELD,  ORLANDO  AUGUSTINE 
(Nov.  28,  1863,  Horningsham,  England), 
graduated  from  Trinity  College  in  London  in 
1885  and  from  the  London  College  of  Music 
in  1890.  He  was  organist  in  Torquay  at  Holy 
Trinity  in  1885-95  and  at  Belgrave  Church  in 
1900-12.  In  1892-1912  he  was  examiner  at 
the  London  College  of  Music.  Since  1912  he 
has  been  in  America,  till  1918  at  Wilson  College, 
Chambersburg,  Pa.,  and  in  1918-20  at  Brenau 
College,  Gainesville,  Ga.  He  is  a  fellow  of  the 
R.  C.  O.  and  the  A.  G.  O.  and  has  given  many 
organ-recitals  in  England  and  America.  He 
has  been  twice  made  Mus.D.  in  Toronto,  in 
1890  by  Trinity  University,  and  in  1905  by 
Toronto  University.  He  has  published  about 
400  compositions  and  arrangements  (including 


30  prize-works)  for  piano,  organ,  choir  or  chorua. 
Among  the  latest  are  a  set  of  Concert- Varia- 
tions for  organ  and  a  part-song  and  anthems 
for  women's  voices.  Unpublished  are  two 
cantatas,  many  organ-arrangements  and  a 
text-book  on  the  rudiments.  He  has  edited 
over  50  collections  of  piano-  and  church-music, 
and  compiled  The  Student's  Harmony,  4  vols., 
1896  (10th  edition,  1912).  He  has  long  been 
an  effective  writer  of  magazine-articles  —  over 
500  —  for  musical  periodicals  on  both  sides 
of  the  ocean.     [  R.IO  ] 

MANUSCRIPT  MUSIC  SOCIETY,  THE, 
of  Philadelphia,  was  founded  in  1892,  W.  W. 
Gilchrist  being  president  and  P.  H.  Goepp 
secretary.  It  has  gathered  into  close  fellow- 
ship the  composers  of  the  city,  has  maintained 
monthly  meetings  with  performances  of  original 
works,  has  arranged  public  concerts  in  conjunc- 
tion with  the  Philadelphia  Orchestra  and  the 
principal  choral  societies,  and  from  time  to 
time  has  stimulated  composition  by  offering 
prizes  for  choral  and  chamber-works.  Nicholas 
Douty  is  now  president. 

MANUSCRIPT  SOCIETY,  THE,  of  New 
York.  See  Vol.  iii.  372.  This  and  the  fore- 
going are  examples  of  a  class  of  associations 
existing  in  one  form  or  another  in  several  cities, 
often  effective  in  many  ways.  That  in  Chicago 
was  founded  in  1896,  F.  G.  Gleason  being  its 
first  president. 

MAPLESON,  JAMES  HENRY  (1829?- 
1901).     See  Vol.  iii.  44,  and  Register,  6. 

MARCEL,  LUCILLE  (b.  1887  ?) .  See  Reg- 
ister, 9. 

MARCOSSON,  SOL  (b.  1869).  See  Regis- 
ter, 7. 

MARCOUX,  VANNI  (b.  1879).  See  Reg- 
ister, 10. 

MARETZEK,  MAX  (1821-1897).  See  Reg- 
ister, 4. 

MARGULIES,  ADELE  (Mar.  7,  1863, 
Vienna,  Austria),  began  piano-study  at  ten, 
continued  under  Door  and  Gradener  at  the 
Vienna  Conservatory,  taking  first  prize  three 
years  in  succession,  and  made  her  dfebut  in 
1879.  In  1881  she  came  to  New  York,  appear- 
ing at  once  in  recital  and  early  in  1883  with 
the  Thomas  Orchestra.  Since  then  she  has 
played  with  the  Boston  Symphony  Orchestra 
and  other  orchestras  and  often  in  recital.  In 
1885  at  a  'Novelty  Concert'  under  Van  der 
Stucken  she  introduced  the  second  and  third 
movements  of  MacDowell's  1st  Concerto.  In 
1890-92  she  formed  the  Margulies  Trio  with 
Lichtenberg  and  Herbert,  and  in  1904  this 
was  revived  in  more  permanent  form  with 
Lichtenberg  and  Schulz  (Schroeder  after  1915). 
This  organization  has  introduced  in  America 
many  chamber-works  by  Korngold,  Juon, 
Reger,  Georg  Schumann  and  others,  and  is 
counted  one  of  the  best.     Since  1887  she  has 


MARINE  BAND 


MARTENS 


283 


also  been  chief  piano-teacher  at  the  National 
Conservatory.     [  R.7  ] 

MARINE  BAND,  THE.  The  military 
band  belonging  to  the  U.  S.  Marine  Corps, 
with  headquarters  at  Washington  and  for 
that  reason  more  or  less  associated  with  the 
National  Government  and  traditionally  re- 
garded as  its  oflBcial  musical  organization. 

The  Marine  Corps  was  established  in  1798 
and  from  the  start  had  a  fife-and-drum  corps 
of  32  players.  In  1802  this  was  transformed 
into  a  brass-band,  which  is  known  to  have 
ofl&ciated  on  occasion  outside  the  regular  mili- 
tary routine,  though  the  records  were  destroyed 
in  the  War  of  1812.  Beginning  with  1854  the 
giving  of  open-air  concerts  at  the  Capitol  or  the 
White  House  became  an  established  custom, 
and  congressional  action  followed,  increasing  the 
Band's  compensation  and  finally,  in  1861,  desig- 
nating it  as  the  chief  band  in  the  service.  Up 
to  this  time  the  number  of  players  had  been  30. 
In  1898  it  was  ofRcially  increased  to  60  (now 
65) .  The  leader  was  then  given  the  pay  of  first 
lieutenant  in  the  Corps,  which  in  1916  was 
changed  to  that  of  captain.  A  full  list  of  the 
leaders  is  not  available,  especially  as  in  earlier 
years  different  members  alternated  in  the  duty. 
In  1824-30  the  leader  was  John  Lewis  Clubb, 
in  1830  Entius  Friquet,  in  1830-41  Francis 
Schenig,  in  1841-42  Joseph  Curveltier,  in  1842- 
43  and  again  in  1848-54  Antonio  Pons,  in  1843- 
48  and  again  in  1854-71  Francis  Scala,  in  1871- 
73  Henry  Fries,  in  1873-80  Louis  Schneider, 
in  1880-92  John  Philip  Sousa,  in  1892-97  Fran- 
cesco Fanciulli,  and  since  1898  William  H. 
Santelmann.  For  at  least  fifty  years,  probably 
more,  the  Band  has  ranked  as  one  of  the  best, 
if  not  the  best,  in  the  country.  It  has  regularly 
officiated  at  functions  of  national  importance 
at  Washington  and  occasionally  has  appeared 
elsewhere,  especially  at  the  great  Expositions, 
and  has  made  concert-tours. 

MARKS,  JAMES  CHRISTOPHER,  Jr. 
(b.  1863).  See  Register,  9. 

MARQUETTE  UNIVERSITY,  Milwaukee, 
Wis.  (Roman  Catholic),  since  1911  has  main- 
tained a  Conservatory  of  Music  as  one  of  its 
constituent  schools.  Its  work  is  arranged  under 
four  heads :  Preparatory  Department  (for 
children),  Grade-school  Course,  in  eight  grades 
(as  in  a  public  school),  Academic  Course, 
usually  requiring  two  years  after  completing 
the  Grade-School  Course,  leading  either  to  a 
Teacher's  Certificate  or  to  a  Diploma,  and 
Collegiate  Course  of  two  years,  leading  to  a 
Mus.B.  or  to  an  Artist's  Diploma.  Unusually 
full  opportunities  are  provided  for  mastery 
of  band  and  orchestral  instruments  and  for 
operatic  experience  (two  works  given  annually 
in  complete  detail).  The  faculty  numbers 
about  35.  Liborius  Semmann  has  been  its 
only  director. 


MARSH,  CHARLES  HOWARD.  SeeCoi/- 
LEGES,  3  (U.  of  Redlands,  Cal.). 

MARSHALL,  Mr.  and  Mrs.  See  Register, 
2. 

MARSHALL,  CHARLES.  See  Colleges, 
1  (U.  of  Notre  Dame,  Ind.). 

MARSHALL,  ELVIS  COLLETT  (b.  1865). 
See  Colleges,  3  (Southwestern  C,  Kan.). 

MARSHALL,  JOHN  PATTON  (Jan.  9, 
1877,  Rockport,  Mass.),  from  1895  studied 
in  Boston  with  Lang,  Chadwick,  MacDowell, 
Norris  and  Goodrich.  In  1896-1905  he  was 
organist  at  St.  John's  and  since  1909  has  been 
at  the  First  (Unitarian)  Church.  In  1902-12 
he  taught  at  the  Middlesex  School  in  Concord, 
Mass.,  and  since  1902  has  been  head  of  the 
music-department  in  Boston  University.  Since 
1909  he  has  also  been  organist  of  the  Boston 
Symphony  Orchestra.  In  1908-11  he  lectiu-ed 
at  the  Harvard  Summer  School  and  since  1911 
has  been  on  the  staff  of  the  Massachusetts 
University  Extension.  He  is  also  on  the  ad- 
visory board  of  the  Boston  public  schools. 
He  has  published  a  Syllabus  of  the  History  of 
Music,  1906,  and  a  Syllabus  of  Music- Apprecia- 
tion, 1911,  and  has  written  piano-pieces  and 
songs.  During  the  war  he  was  much  engaged 
in  promoting  music  in  training-camps.     [  R.8  ] 

MARSHALL,  LEONARD.  See  Tune- 
Books,  1849. 

MARSTON,  GEORGE  W.  (1840-1901). 
See  Register,  5. 

X  MARTEAU,  HENRI  (Mar.  31,  1874, 
Rheims,  France).  See  article  in  Vol.  iii.  65. 
His  American  tours  were  in  1892,  '93,  '94,  '98 
and  1906.  In  1908  he  resigned  at  the  Geneva 
Conservatory  to  succeed  Joachim  at  the  Berlin 
Hochschule.  As  reserve-oSicer  of  the  French 
army  he  was  interned  at  the  outbreak  of  the 
war.  After  his  connection  with  the  Hoch- 
schule was  terminated  on  Oct.  1,  1915,  he  was 
allowed  to  leave  the  detention-camp,  but  com- 
pelled to  remain  in  Germany.  After  the  war 
he  returned  to  Geneva.  To  the  list  of  works 
add  a  concerto  for  violin  (in  suite-form),  op. 
15 ;  a  concerto  for  'cello,  op.  7 ;  string-quartets 
in  D-flat,  op.  5,  and  D,  op.  9 ;  a  string-trio  in 
F,  op.  12 ;  a  quintet  for  clarinet  and  strings, 
op.  13 ;  8  songs  with  string-quartet,  op.  10 ; 
and  smaller  instrumental  pieces. 

MARTENS,  FREDERICK  HERMAN 
(July  6,  1874,  New  York),  is  a  grandnephew 
of  Karl  P.  Gradener,  the  Hamburg  composer. 
He  was  trained  under  private  tutors,  especially 
in  history  and  languages,  and  studied  theory 
with  Spicker,  piano  with  H.  C.  Timm  and  Wil- 
liam Barber  in  New  York.  Since  1907  he  h^as 
been  constantly  active  in  literary  work,  con- 
tributing articles  to  leading  musical  journals, 
including  the  London  'Musical  Record,'  writ- 
ing texts  for  operettas  and  cantatas  and  verses 
for  songs,  and  translating  texts  in  various  Ian- 


284 


MARTIN 


MASCAGNI 


guages.  He  is  librettist  of  Page's  'The  Con- 
test of  the  Nations'  and  'Old  Plantation-Days,' 
Macfarlane's  'Little  Almond- Eyes,'  'Swords 
and  Scissors'  and  'America  First,'  Lester's 
'The  Frog- Prince,'  'Ballad  of  the  Golden  Sun,' 
'Thyre  the  Fair,'  etc.,  Dunn's  'The  Phantom- 
Drum,'  Bornschein's  'Zorah,'  'Onowa'  and 
'The  Maypole  of  Merrymount,'  James'  'Spring 
in  Vienna,'  etc.  His  verses  have  been  set  as 
songs  by  Cadman,  Spross,  Kramer,  Speaks, 
Ornstein,  Yamada  and  others.  In  1914-17 
he  was  one  of  the  contributing  editors  of  The 
Art  of  Music.  He  has  also  published  Leo  Orn- 
stein: the  Man,  his  Ideas,  his  Work,  1917,  and 
Violin-Mastery,  1918.     [  R.9  ] 

MARTIN,  AUBREY  WILLIS  (b.  1879). 
See  State  Universities  (Miami  U.,  Ohio). 

t  MARTIN,  GEORGE  CLEMENT  (Sept. 
11,  1844,  Lambourn,  England  :  Feb.  2.3, 
1916,  London.)  See  article  in  Vol.  iii.  65.  He 
remained  organist  at  St.  Paul's  till  his  death. 
A  tablet  commemorating  his  forty-two  years' 
distinguished  service  was  unveiled  in  the  crypt 
on  Oct.  31,  1917.  In  1912  Oxford  University 
conferred  an  honorary  Mus.D.  upon  him.  A 
full  list  of  his  works  is  given  in  '  The  Musical 
Times,'  April,  1916.  It  includes  20  services 
(complete  or  partial),  22  anthems  (both  services 
and  anthems  often  with  orchestra),  21  hymn- 
tunes,  5  carols,  a  collection  of  84  tunes  and 
carols,  some  secular  songs  and  part-songs, 
editions  of  church-music  by  other  composers, 
and  the  manual   The  Art  of  Training  Choir- 


MARTIN,  RICCARDO  [Christian  name 
originally  Hugh  Whitfield]  (Nov.  18,  1881, 
HopkinsvUle,  Ky.),  encountered  strong  family 
opposition  to  musical  aspirations,  but  began 
violin  in  Nashville,  harmony  with  Irrgang  in 
Berlin  and  singing  with  Carelli  in  Naples,  and 
in  1896-1900  was  under  MacDowell  in  com- 
position in  New  York.  From  this  period  date 
several  songs  (Ditson,  Schirmer,  Hamelle), 
men's  choruses  (Schirmer)  and  some  choral  and 
orchestral  works.  In  1901  he  was  enabled  by 
H.  H.  Flagler  to  study  for  the  opera-stage  in 
Paris  under  Sbriglia,  M.  and  Mme.  Escalais 
and  Jean  de  Reszke,  developing  into  an  effec- 
tive tenor.  His  d6but  as  Faust  was  in  1904  at 
Nantes  (the  manager  then  affixing  a  stage-name 
that  he  has  felt  obliged  to  retain).  He  also 
sang  in  Verona  and  Milan  in  1905-06,  and  in 
1906  appeared  in  New  Orleans  and  toured  with 
the  Henry  Russell  company.  In  1907-15  he 
was  regularly  engaged  at  the  Metropolitan 
Opera  House,  appearing  first  in  'Mefistofele' 
and  later  creating  (for  that  stage)  the  tenor  roles 
in  'La  Wally,'  'The  Pipe  of  Desire,'  'Mona' 
and  'Cyrano  de  Bergerac,'  and  in  Philadelphia 
with  the  Chicago  Opera  Company  in  'The 
Cricket  on  the  Hearth.'  In  1910-11  he  also 
sang  at  Covent  Garden  in  London,  appearing 


first  in  'Madama  Butterfly,'  and  in  1910  was 
at  the  Teatro  Arbeu  in  Mexico  City.  In  1916- 
17  he  toured  with  the  Boston  Grand  Opera 
Company.  His  favorite  roles  are  Enzo  (in 
'La  Gioconda'),  Manrico,  Rodolfo,  Avito  (in 
'  L'Amore  dei  Tre  R6'),  Cavaradossi  and  Pink- 
erton.  He  was  the  first  American  to  sing  the 
latter  at  the  Metropolitan  and  at  Covent  Gar- 
den.    [  R.9  1 

MARTINELLI,  GIOVANNI  (b.  1885). 
See  Register,  10. 

MARTUCCI,  PAOLO  (b.  1885).  See  Reg- 
ister, 10. 

MARYOTT,  HAROLD  BURNHAM  (b. 
1878).     See  Register,  9. 

MARZO,  EDUARDO  (Nov.  29,  1852,  Na- 
ples, Italy),  came  to  America  in  1867  as  a 
boy-pianist,  having  then  studied  with  Nacci- 
arone  and  Miceli,  but  went  back  for  composi- 
tion-lessons under  Pappalardo.  From  1869 
he  traveled  widely  as  musical  director  for 
troupes  and  accompanist  for  soloists,  being 
associated  with  Carlotta  Patti,  Mario,  Miss 
Cary,  lima  de  Murska,  Sauret,  Tietjens,  Sa- 
rasate  and  many  others.  Since  1878  he  has 
worked  in  New  York  as  vocal  teacher,  or- 
ganist and  composer.  At  present  he  is  or- 
ganist at  the  Church  of  the  Holy  Name  and 
teaches  in  colleges  at  Mount  St.  Vincent  and 
in  New  Rochelle.  Since  1884  he  has  received 
distinguished  decorations,  royal  and  ecclesias- 
tical, from  Italy.  In  1896  he  was  a  founder 
of  the  A.  G.  O.  His  published  works  include 
9  masses,  4  vespers,  40  songs  and  anthems 
for  the  Roman  Catholic  service ;  3  Te  Deums, 
40  anthems  and  35  solos  for  the  Protestant 
service ;  a  sacred  cantata  for  chorus  and  or- 
chestra ;  6  operettas  and  cantatas  for  women's 
voices ;  about  40  part-songs  for  women's  voices 
and  about  40  secular  songs.  He  has  also  edited 
many  masses  and  motets  (Schirmer,  Ditson), 
several  collections  of  Italian  folk-songs,  and 
The  Art  of  Vocalization,  24  vols.  In  manu- 
script he  has  a  setting  of  the  Penitential  Psalms, 
an  orchestral  prelude,  preludes  and  fugues  for 
string-quartet,  etc.  On  Nov.  17,  1917,  his 
friends  gave  him  a  banquet  at  the  Waldorf- 
Astoria  in  celebration  of  his  fiftieth  year  of 
activity  in  America.     [  R.5  ] 

J  MASCAGNI,  PIETRO  (Dec.  7,  1863, 
Leghorn,  Italy).  See  article  in  Vol.  iii.  71-2. 
In  1902  he  made  a  brief  and  singularly  ill- 
advised  visit  to  the  United  States,  conducting 
two  or  three  of  his  works  (including  'Iris')  in 
New  York,  Boston,  etc.  In  1911  he  made  a 
trip  to  South  America,  which  was  more  fortu- 
nate. To  the  list  of  operas  add  '  Isabeau '  (1911, 
Buenos  Aires,  1917,  Chicago),  'Parisina'  (1913, 
Milan),  'Lodoletta'  (1917,  Rome,  1918,  New 
York),  and  one  or  two  lesser  works.  He  has 
written  a  '  Rapsodia  Satanica  '|to  accompany  a 
cinema-film  (1917,  the  Augusteo,  Rome).     See 


MASON 


MASON 


285 


biographies  by  Monaldi,  1899,  Marvin,  1904, 
Bastianelli,  1910,  andPompei,  1912. 

MASON,  DANIEL  GREGORY  (1820- 
1869).     See  Register,  4. 

MASON,  DANIEL  GREGORY  (Nov.  20, 
1873,  Brookline,  Mass.),  is  a  son  of  Henry 
Mason  (see  below)  and  grandson  of  Lowell 
Mason.  He  graduated  from  Harvard  in  1895. 
His  teachers  in  music  at  various  times  were 
Johns,  Ethelbert  Neviu,  Paine,  Arthur  Whiting, 
Chadwiek  and  Goetschius  in  Boston  or  New 
York  and  d'Indy  in  Paris.  Since  about  1900 
he  has  been  increasingly  prominent  in  New  York 
as  a  skillful  teacher,  lecturer,  critic  and  author, 
besides  much  notable  composition.  After  lec- 
turing at  the  Normal  College  in  New  York, 
for  the  American  University  Extension  Society 
and  at  Teachers  College,  since  1910  he  has  been 
on  the  staff  of  Columbia  University  as  assistant- 
or  associate-professor.  His  activity  as  lecturer 
has  extended  to  many  other  institutions,  like 
the  Brooklyn  Academy  of  Arts  and  Sciences, 
the  Institute  of  Musical  Art,  the  American 
Institute  of  Applied  Music,  Smith  College  in 
Massachusetts,  etc.  For  the  Board  of  Educa- 
tion he  has  given  over  250  popular  lectures. 
His  compositions  are  as  follows : 

'Birthday  Waltzes,'  op.  1,  for  piano. 

'Elegy,'  op.  2,  for  piano  (Metzler). 

Romance    and    Impromptu,    op.    3,     for    piano 

(Church). 
Four  Songs,  op.  4,  for  soprano,  texts  by  Mary  L. 

Mason  (Church). 
Sonata  in  G   minor,   op.   5,  for  violin  and  piano 

(Schirmer). 
Variations  on   'Yankee   Doodle,'   in  the  styles  of 

various  composers  (Breitkopf). 
Quartet  in  A,  op.  7,  for  piano  and  strings  (Schirmer). 
Pastorale,   op.   8,   for   piano,    violin    and  clarinet 

(Mathot). 
'Country-Pictures,'  op.  9,  for  piano  (Breitkopf). 
Passacaglia  and  Fugue,  op.  10,  for  organ  (Gray). 
Symphony  in  C  minor,  op.  11  (1916,  Philadelphia 

Orchestra). 
Music  for  'The  Pageant  of  Cape  Cod,'  op.  12  (1914, 

Bourne,  Mass.). 
Two  Pieces  for  violin  and  piano,  op.  13. 
Sonata,  op.  14,  for  clarinet  and  piano. 
'Love-Songs,'   op.    15,   a   cycle   for  soprano,   texts 

by  Mary  L.  Mason  (Schirmer). 
Impromptu  and  Ballade,  op.   16,  for  piano  (Im- 
promptu, Ditson). 
Intermezzo,     op.     17,     for    string-quartet     (1918, 

Flonzaley  Quartet). 
'Russians,'    op.    18,    song-cycle    for   baritone    and 

orchestra,  texts  by  Witter  Bynner. 
Quartet  on  Negro  themes,  op.  19,  for  strings. 

He  has  also  been  a  prolific  and  forceful  author, 
his  books  including  From  Grieg  to  Brahms,  1902, 
Beethoven  and  his  Forerunners,  1904,  The  Ro- 
mantic Composers,  1906,  The  Appreciation  of 
Music  (with  T.  W.  Surette)  1907,  The  Orches- 
tral Instruments  and  What  They  Do,  1908,  A 
Guide  to  Music,  1909  (two  editions),  A  Neg- 
lected Sense  in  Piano-Playing,  1912,  Great  Mod- 
ern Composers  (with  Mary  L.   Mason),   1916, 


Short  Studies  of  Great  Masterpieces,  1918,  and 
Contemporary  Composers,  1918.  His  most  con- 
spicuous editorial  work  was  The  Art  of  Music, 
14  vols.  1914-17,  of  which  he  was  editor-in- 
chief.     [  R.9  ] 

MASON,  EDITH  BARNES  (b.  1892).  See 
Register,  10. 

MASON,  EDWARD  YOUNG  (b.  1871). 
See  Colleges,  3  (Illinois  Wesleyan  U.  and 
Ohio  Wesleyan  U.). 

MASON,  HENRY  (1831-1890).  See  Reg- 
ister, 4. 

MASON,  HENRY  LOWELL  (b.  1864). 
See  Register,  7. 

MASON,  LOWELL  (Jan.  8,  1792,  Medfield, 
Mass.  :  Aug.  11,  1872,  Orange,  N.  J.).  See 
article  in  Vol.  iii.  74.  During  his  life  in  Sa- 
vannah he  was  active  first  in  the  Independent 
Presbyterian  Church  and  in  1827  a  founder  of 
the  First  Presbyterian  Church.'  In  1818  he 
and  F.  L.  Abel,  who  taught  him  harmony,  be- 
gan making  a  collection  of  choral  music,  which 
he  took  to  Boston  in  search  of  a  publisher. 
It  was  partly  due  to  the  interest  of  G.  K.  Jack- 
son that  the  work  was  finally  taken  up  by  the 
Handel  and  Haydn  Society.  Their  failure  to 
give  Mason  credit  as  compiler  is  surprising. 
The  net  proceeds  of  the  venture  were  about 
$12,000  for  the  Society  and  the  same  for  Mason 
—  a  fortunate  wind-fall  for  both  parties.  The 
book's  prestige  and  the  fame  of  his  choir  in 
Savannah  led  to  his  being  called  in  1827  to  be 
choir-master  for  three  Boston  churches.  Of 
these  the  chief  was  that  in  Bowdoin  Street, 
where  Dr.  Lyman  Beecher  was  pastor,  and  here 
Mason  soon  concentrated  his  efforts  as  organist. 
In  1827-32  he  was  president  and  conductor 
of  the  Handel  and  Haydn  Society,  which  he 
brought  to  a  new  standard  of  efficiency,  though 
without  undertaking  any  new  work  of  signal 
importance. 

His  interest  in  Pestalozzi  was  aroused  by 
books  brought  in  1829  from  Europe  by  W.  C. 
Woodbridge,  who  joined  him  in  the  effort  to 
prove  by  classes  the  value  of  the  system  for  the 
public  schools.  The  Academy  of  Music,  or- 
ganized in  1833  (under  the  chairmanship  of 
Samuel  Eliot,  mayor  of  the  city,  father  of 
President  Eliot  of  Harvard) ,  was  an  immediate 
success  (1500  pupils  the  first  year),  so  that  G. 
J.  Webb  was  soon  called  in  as  assistant.  The 
issue  of  Mason's  Manual  for  Instruction,  1834, 
with  its  emphasis  upon  'the  thing  before  the 
sign,'  led  at  once  to  the  formation  of  normal 
classes  and  these,  under  the  leadership  of  Ma- 
son and  Webb,  in  turn  started  the  movement 
for  musical  'conventions'  which  soon  spread 
beyond  New  England  into  New  York,  Ohio 

1  At  that  time  the  distinction  between  '  Congrega- 
tional '  and  '  Presbyterian  '  in  the  naming  of  churches 
was  only  just  estabhshing  itself.  The  Independent 
Church  was  originally  the  former  rather  than  the 
latter. 


286 


MASON 


MASON 


and  further  west.  It  was  not  till  1837  that 
the  authorities  yielded  to  the  pressure  to  in- 
troduce music  into. the  public  schools,  and  even 
then  made  no  appropriation  for  it,  so  that  the 
first  year  Mason  not  only  served  without  salary, 
but  supplied  all  books  and  materials.  He 
remained  in  charge  till  1841,  being  succeeded 
by  B.  F.  Baker.  During  his  trip  abroad  in 
1837  he  heard  the  first  English  performance 
of  Mendelssohn's  'St.  Paul'  at  Birmingham, 
a  rendering  of  '  Fidelio '  in  English  (with  Schroe- 
der-Devrient)  and  innumerable  concerts.  At 
Zurich  he  visited  Pestaiozzi,  Nageli  and  others. 
On  his  second  European  trip,  in  1853-54,  he 
remained  about  eighteen  months.  He  was 
now  recognized  as  an  authority  and  lectured 
frequently  on  congregational  singing  and  music- 
education.  His  Letters,  1853,  belong  to  this 
trip.  See  also  Academy  of  Music  (Boston), 
Conventions,  and  Public  Schools. 

After  1854  he  lived  at  Orange,  N.  J.,  where 
his  third  son,  William  Mason,  was  then  teach- 
ing. He  had  accumulated  a  considerable  li- 
brary, increased  in  1852  by  the  purchase  of  the 
collection  of  the  famous  organist  Rinck.  After 
his  death  the  library  was  given  by  the  family 
to  Yale  University.  His  degree  of  Mus.D. 
was  not  absolutely  the  first  in  America  (see 
Degrees),  but  certainly  the  first  of  distinction. 

His  remarkable  power  as  leader  and  organizer 
was  due  to  a  variety  of  characteristics.  He 
had  keenness  of  intellect,  patience  of  investi- 
gation and  ability  to  marshal  and  impart  in- 
formation. His  enthusiasm  was  ardent  in 
everything  pertaining  to  the  application  of 
music  as  an  art  to  popular  education  and  to  the 
exercises  of  social  religion.  He  was  eminently 
magnetic  as  a  leader  or  teacher  of  classes  and 
choirs,  but  strict  in  discipline  and  always  serious 
in  purpose.  His  instinct  was  that  of  a  true 
educator,  whose  object  lies  outside  himself, 
rather  than  of  the  self-conscious  artist.  He 
deliberately  confined  himself  to  those  forms 
of  effort  that  he  believed  most  important  and 
promising  for  the  conditions  of  the  period. 
Even  so,  he  was  somewhat  ahead  of  the  age. 
Yet  so  pervasive  was  his  influence  that  he  lived 
to  the  verge  of  a  new  period,  when  much  that 
he  did  was  lightly  esteemed  because  rudimen- 
tary. See  the  more  or  less  senseless  treatment 
of  the  subject  in  Ritter,  Music  in  America. 

There  is  no  adequate  biography  as  yet,  but 
one  is  being  completed  by  his  grandson,  Henry 
L.  Mason,  of  Boston,  who  has  kindly  supplied 
many  details  for  this  notice. 

He  was  a  fertile  composer  of  hymn-tunes 
and  arranged  many  from  various  sources. 
Those  that  continued  popular  longest  are 
usually  known  by  the  following  names : 


Anvern' 

'Boylston' 

'Dorf 

Azmon' 

'Cowper' 

'  Downs 

Bethany' 

'Dan  vers' 

'Ernan' 

Fountain ' 

'  Malvern ' 

'Sabbath* 

Haddam ' 

'Meribah' 

'To-Day' 

Hamburg ' 

'Migdol' 

'Uxbridge' 

Harwell ' 

'  Missionary 

'Ward' 

Hebron' 

Hymn' 

'Watchman 

Henley ' 

'Naomi' 

'Wesley' 

Hermon ' 

'Olivet' 

'Work-Song 

Inverness' 

'Olmutz' 

'  Zebulon ' 

Laban ' 

'Olney' 

'Zerah' 

Litchfield' 

'  Rockingham ' 

It  is  not  always  realized  that  the  technical 
form  of  these,  especially  in  their  original  rhyth- 
mic disposition,  presents  some  historic  in- 
terest apart  from  their  deliberate  simplicity. 
For  titles  of  his  books  in  this  field  see  Tune- 
Books  and  Hymn-Books. 

He  was  the  pioneer  in  song-books  for  juvenile 
use,  both  sacred  and  secular,  including  many 
devised  specially  for  public  schools.  The  full 
list  of  these  should  be  on  record : 

The  Juvenile  Psalmist,  1829  —  believed  by  him 
the  first  book  with  music  for  Sunday-Schools,  The 
Juvenile  Lyre,  1830  —  the  first  American  school 
song-book.  The  Juvenile  Singing-School,  1835,  Sabbath- 
School  Songs,  1836,  The  Sabbath-School  Harp,  1837,  The 
Juvenile  Songster,  1837  (London),  Juvenile  Music 
for  Su7ulat/-Schools,  1839,  The  Boston  School  Song- 
Book,  1840,  Little  So7igs  for  Little  Singers,  1840,  The 
American  Sabbath-School  Singing-Book,  1843,  Song- 
Book  of  the  School-Room,  1845,  The  Primary  School 
Song-Book,  1846,  The  Normal  Singer,  1856,  The 
Song-Garden,  3  parts,  1864-65  —  with  the  Manual 
for  Instruction  of  the  Boston  Academy  in  the  Elements 
of  Vocal  Music,  1834. 

To  these  may  be  added  the  part-song  collections, 
The  Odeon,  1837,  The  Boston  Glee-Book,  1838,  The 
Lyrist,  1838,  The  Gentlemen's  Glee-Book,  1841,  21 
Madrigals,  Glees  and  Parl-Songs,  1843,  The  Vocalist, 
1844,  The  Glee-Hive,  1851.  At  one  point  material 
was  incorporated  in  the  periodical  '  The  Musical 
Library,'  1834-35  (with  Webb).  [  R.3  ] 

MASON,  LOWELL,  Jr.  (1823-1885).  See 
Register,  4. 

MASON,  LUTHER  WHITING  (Apr.  3, 
1828,  Turner,  Me.  :  July  14,  1896,  Buck- 
field,  Me.) ,  was  not  related  to  the  Lowell  Mason 
family.  Though  mainly  self-taught  in  music, 
he  got  his  school-education  by  teaching  it.  He 
was  all  his  life  engaged  in  public-school  music, 
from  1853  in  Louisville,  then  in  Cincinnati, 
where  he  first  perfected  his  system,  from  1864 
in  Boston,  at  first  devoting  himself  to  supplying 
the  lack  of  instruction  in  the  primary  grades, 
in  1879-82  in  Japan  as  governmental  super- 
visor,i  and  then  in  Boston  again.  With  Oeorge 
A.  Veazie,  Jr.,  he  published  a  series  of  manuals 
as  The  National  Music-Course,  making  a  trip 
to  Germany  in  connection  with  it  and  securing 
such  approval  from  the  Leipzig  Conservatory 
that  a  German  translation  was  issued.     [  R.4  ] 

MASON,  TIMOTHY  B.  See  Tune-Books, 
1834. 

'  It  is  said  that  his  system  was  speedily  introduced 
into  30,000  Japanese  schools.  This  unfamiliar  style 
ot  music  led  to  the  term  '  Mason-song '  for  Western 
music  generally. 


DR.  WILLL^M   MASON 


MASON 


MATHEWS 


287 


MASON,  WILLIAM  (Jan.  24,  1829,  Bos- 
ton :  July  14,  1908,  New  York).  See  article 
in  VoL  iii.  74.  His  early  studies  were  with 
Henry  Schmidt  in  Boston.  By  1846  he  played 
at  Harvard  Musical  Association  concerts  in 
piano-trios  by  Beethoven,  Reissiger  and  May- 
seder.  After  being  at  Leipzig  he  spent  a  year 
with  Dreyschock  at  Prague.  In  1853  he  played 
Weber's  '  Concertstiick '  in  London  with  the 
Harmonic  Union  under  Benedict.  In  1854-55 
he  toured  the  United  States  as  pianist  and  then 
settled  in  New  York.  His  desire  to  introduce 
Brahms'  Trio,  op.  8,  led  to  the  Mason-Thomas 
Soir6es.  His  piano-works  numbered  about  40, 
including  'Amitie  poiu:  Moi,'  op.  4,  'Silver 
Spring,'  op.  6,  Ballade  in  B,  op.  12,  'Monody,' 
op.  13,  the  mazurka-caprice  'Spring-Dawn,' 
op.  20,  'Reverie  PoStique,'  op.  24,  Berceuse, 
op.  34,  Serenata,  op.  39,  Scherzo,  op.  41,  and 
'Capriccio  Fantastico,'  op.  50.  He  published 
(with  E.  S.  Hadley)  a  Method  for  the  Piano, 
1867,  a  System  for  Beginners,  1871,  Pianoforte- 
Technics,  1878,  and,  most  important  of  all. 
Touch  and  Technic,  op.  44.  For  many  years 
he  was  coimted  the  foremost  teacher  in  the 
country.     [  R.4  ] 

MASON  &  HAMLIN  COMPANY,  THE, 
of  Boston,  was  founded  in  1854  by  Henry 
Mason  (son  of  Lowell  Mason)  and  Emmons 
Hamlin,  the  latter  having  been  in  the  employ  of 
Prince  &  Co.  of  Buffalo.  The  business  at  first 
was  the  making  of  the  form  of  reed-organ 
known  as  the  melodeon,  and  the  output  began 
with  about  450  instruments  a  year.  But 
Hamlin  brought  with  him  his  method  of  im- 
proving tone  by  twisting  the  reeds,  and  other 
improvements  were  rapidly  made,  so  that  the 
capacity  of  the  factory  was  greatly  increased 
and  the  quality  improved.  In  1861  what  was 
called  the  'cabinet  organ'  was  first  put  on  the 
market,  often  with  several  sets  of  reeds  or 
'stops.'  This  has  been  developed  to  a  high 
pitch  of  perfection  and  has  received  niunerous 
awards  for  excellence.  In  1882  the  Company 
began  also  to  make  pianos  and  since  1900  have 
introduced  notable  features,  especially  in  the 
method  of  stringing  and  tuning.  In  1869 
Lowell  Mason,  Jr.,  became  president,  con- 
tinuing till  his  death  in  1885.  The  present 
president  is  Henry  Lowell  Mason,  son  of  the 
founder. 

MASON  BROTHERS",  of  Boston,  was  a 
publishing  firm  formed  in  1855  by  Daniel  Greg- 
ory Mason  and  Lowell  Mason,  Jr.  (sons  of 
LoweU  Mason),  largely  to  take  over  the  issue 
of  their  father's  books.  They  continued  until 
1869,  when  D.  G.  Mason  died  and  Lowell 
Mason  joined  his  brother  Henry  in  the  Mason 
&  Hamlin  Co. 

MASON-THOMAS  SOIREES,  THE,  in 
New  York,  were  chamber-music  recitals  begun 
in  1855  and  continued  till  1868.    The  original 


players  were  William  Mason,  piano,  Theodore 
Thomas,  first  violin,  Joseph  Mosenthal,  second 
violin,  George  Matzka,  viola,  and  Carl  Berg- 
mann,  'cello.  The  latter  was  succeeded  after 
a  year  by  Brannes  and  he  in  turn  by  Frederic 
Bergner.  Otherwise  the  quintet  remained  in- 
tact. These  recitals  were  notable  for  the  num- 
ber of  chamber-works  introduced  to  America, 
as  well  as  for  the  high  standard  of  interpreta- 
tion and  performance. 

tMASSENET,  JULES  £;MILE  FR]6D:fiRIC 
(May  12,  1842,  Montaud,  France  :  Aug. 
13,  1912,  Paris).  See  article  in  Vol.  iii.  87-8. 
'  Ariane '  was  produced  in  1906  (Paris) , '  Ther^se 
in  1907  (Monte  Carlo),  'Bacchus'  in  1909 
(Paris),  'DonQuichotte'  in  1910  (Monte Carlo), 
'Roma'  in  1912  (Monte  Carlo),  '  Panurge'  in 
1913  (Paris)  and  'ClSopatre'  in  1914  (Monte 
Carlo),  the  last  two  posthumously.  Still  an- 
other work,  'Amadis,'  remains  unperformed. 
His  Souvenirs  d'un  Musicien,  1912,  were  com- 
pleted by  Leroux.  For  bibliography  see  Baker, 
Diet,  of  Musicians,  p.  588. 

MATHEWS,  WILLIAM  SMITH  BAB- 
COCK  (May  8,  1837,  New  London,  N.  H.  : 
Apr.  1,  1912,  Denver,  Colo.),  began  music- 
study  at  ten,  was  organist  at  thirteen  and 
teacher  at  Appleton  Academy,  Mt.  Vernon, 
N.  H.,  at  fifteen.  After  study  at  Lowell  and 
Boston,  in  1860-63  he  taught  at  the  Wesleyan 
Female  College  in  Macon,  Ga.,  and  then  at 
Greensboro,  S.  C,  Marion,  Ala.,  Aurora,  111., 
finally  locating  in  Chicago  in  1867.  Here  until 
1893  he  was  organist  at  the  Centenary  (M.  E.) 
Church,  then  and  later  a  very  active  teacher 
and  writer,  and  was  influential  in  advancing 
musical  standards  in  the  Middle  West.  In  1910 
he  moved  to  Denver,  hoping  to  profit  by  the 
change  of  climate,  and  spent  his  last  years  in 
literary  and  editorial  work.  He  contributed  to 
'Dwight's  Journal  of  Music'  in  1866-72,  edited 
'The  Musical  Independent'  in  1868-72  and  in 
1878-86  was  music-critic  for  the  Chicago 
'Herald.'  'Record'  and  'Tribune'  successively. 
He  established  the  monthly  magazine  '  Music ' 
in  1891  and  continued  editor  until  1902,  when 
it  was  merged  with  'The  Philharmonic'  and 
passed  out  of  his  hands.  His  books  were  Out- 
lines of  Music-Form,  1867,  The  Emerson  Organ- 
Method,  1870  (with  L.  O.  Emerson),  How  to 
Understand  Music,  2  vols.,  1880,  1888,  One 
Hundred  Years  of  Music  in  America,  1889, 
Primer  of  Musical  Forms,  1890,  Popular 
History  of  Music,  1891,  Dictionary  of  Musical 
Terms,  1896  (with  Emil  Liebling),  Music,  its 
Ideals  and  Methods,  1897,  The  Masters  and  their 
Music,  1898,  and  The  Great  in  Music,  3  vols., 
1900-03.  He  collaborated  with  William 
Mason  in  his  Touch  and  Technic  and  Funda- 
mental Piano-Technics.  He  edited  collections 
of  Schumann,  Chopin,  etc.,  and  was  concerned 
with  many  pedagogical  publications,  the  last 


288 


MATHUSHEK 


McCORMACK 


of  which  was  The  Progressive  Scries.  His  mind 
was  ready  and  fertile,  acute  and  often  fresh  in 
point  of  view,  but  much  of  his  literary  work 
was  over-hasty.     [  R.5  ] 

MATHUSHEK,  FREDERICK  (1814- 
1891).     See  Register,  4. 

MATLACK,  HENRY  WILLIAM  (b.  1875). 
See  Register,  8. 

MATSON,  CLYDE  E.  See  Colleges,  3 
(Sterling  C,  Kan.). 

MATTFELD,  MARIE.     See  Register,  8. 

MATTHEWS,  HARRY  ALEXANDER 
(Mar.  26,  1879,  Cheltenham,  England),  was 
trained  by  his  father  (see  next  article)  and 
came  to  Philadelphia  in  1899.  He  has  been 
organist  at  the  Second  Presbyterian,  St.  Luke's 
and  Epiphany  Churches.  His  works  number 
about  200,  including  the  cantatas  'Life  Ever- 
lasting,' '  The  Conversion,' '  The  Story  of  Christ- 
mas,' 'The  Triumph  of  the  Cross,'  'The  City 
of  God'  (1917,  Luther  Quadricentennial),  'The 
Slave's  Dream,'  'The  Lake  of  the  Dismal 
Swamp'  and  'The  Song  of  the  Silent  Land,' 
and  many  popular  anthems,  songs,  duets, 
piano-  and  organ-pieces.     [  R.8  ] 

MATTHEWS,  JOHN  SEBASTIAN  (Dec. 
11,  1870,  Cheltenham,  England),  was  the  son 
of  John  Alexander  Matthews,  for  over  45 
years  conductor  of  the  Cheltenham  Festivals. 
Like  his  brother  (see  above),  he  was  first 
trained  by  his  father  and  also  by  G.  B.  Arnold 
at  Winchester,  assisting  the  latter  as  organist 
at  the  Cathedral  for  three  years.  He  has  been 
organist  in  America  since  1891  —  at  St.  Mar- 
tin's in  the  Fields  in  Philadelphia,  at  St. 
Mary's  in  Burlington,  N.  J.,  at  St.  Stephen's 
in  Boston,  from  1901  at  St.  Peter's  in  Morris- 
town,  N.  J.,  and  since  1916  at  Grace  Church 
in  Providence.  He  has  written  the  cantatas 
'The  Paschal  Victor'  (1913),  'The  Eve  of 
Grace'  (1914)  and  'The  Way  of  Life'  (1919), 
many  effective  anthems,  like  'There's  a  Wide- 
ness  in  God's  Mercy,'  'Shepherd,  with  Thy 
Tenderest  Love,'  'I  Sought  the  Lord,'  'When 
wilt  Thou  save  the  people'  and  'The  Twilight- 
Carol,'  about  20  Christmas-carols,  songs,  part- 
songs  and  organ-pieces.  He  has  also  in  manu- 
script the  comic  opera  '  Narragansett  Pier.' 
[  R.8  ] 

MATTIOLI,  LINO  (b.  1853).  See  Regis- 
ter, 7. 

MATZENAUER,  MARG ARETE  (b.  1881). 
See  Register,  10. 

MATZKA,  GEORGE  (1825-  ?  ).  See 
Register,  4. 

MAUBOURG  [-GOFFAUX]  JEANNE 
(b.  1875).     See  Register,  9. 

MAUREL,  VICTOR  (b.  1848).  See  Regis- 
ter, 6. 

MAXIM,  ABRAHAM  (1773-1829).  See 
Tune-Books,  1808. 

MAXSON,  FREDERICK  (June  13,  1862, 


Beverly,  N.  J.),  was  first  a  pupil  of  D.  D. 
Wood,  the  blind  organist  in  Philadelphia,  and 
later  of  Guilmant.  From  1884  he  was  organist 
at  the  Central  Congregational  Church  in 
Philadelphia  and  since  1902  at  the  First  Bap- 
tist Church.  Besides  being  a  successful  organ- 
teacher,  privately  and  at  the  Leefson-Hille 
Conservatory,  he  has  been  much  in  request  as 
recitalist  in  Philadelphia  and  throughout  the 
East.  He  is  an  associate  of  the  R.  C.  O.,  fel- 
low of  the  A.  G.  O.,  and  head  of  the  examiners 
of  the  American  Organ-Players'  Club.  His 
works  include  organ-pieces  like  the  Romance 
in  C  (Gray),  Festive  March  in  E-flat  (Gray), 
Madrigal  in  G  and  'A  Spring-Time  Fantasy' 
(White-Smith),  Grand  Chorus  in  D  (Weekes) 
and  Finale  in  B-flat  (Church),  various  piano- 
pieces  (Presser,  Schirmer,  North,  White-Smith) , 
a  choral  service,  anthems  and  sacred  solos 
(Boner,  Ditson,  Gray,  White-Smith).  He  has 
also  unpublished  a  'Liberty  Fantasia'  and  a 
Festive  March  for  organ.     [  R.7  ] 

MAXWELL,  LEON  RYDER  (Sept.  15, 
1883,  Medford,  Mass.),  graduated  at  Tufts 
College  in  1904,  studying  music  there  and  in 
Boston.  In  1905-08  he  was  music-supervisor 
in  various  towns  near  Boston,  and  then  went 
to  study  composition  with  Beer-Walbrunn 
and  voice  with  Hess  in  Munich,  continuing 
the  latter  with  Braggiotti  in  Florence  and 
Dubulle  in  Paris.  Since  1909  he  has  taught  in 
Newcomb  College  in  New  Orleans,  becoming 
head  of  its  music-school  in  1910.  He  has  given 
many  song-recitals  as  baritone,  lectured  more 
or  less,  written  magazine-articles  and  prepared 
the  program-notes  for  the  New  Orleans  Phil- 
harmonic Society  and  Symphony  Orchestra. 
Since  1912  he  has  conducted  the  University 
Chorus,  in  1913-15  was  president  of  the  Louisi- 
ana Music  Teachers'  Association,  in  1917-19 
was  vice-president  of  the  M.  T.  N.  A.,  etc.  His 
compositions  for  voice,  piano  and  organ,  and  for 
string-quartet  and  orchestra,  are  as  yet  unpub- 
lished. He  was  co-editor  with  Leo  R.  Lewis 
of  The  Assembly  Praise  Book,  1910.     [  R.9  ] 

MAY,  HIRAM.     See  Tune-Books,  1840. 

MAYLATH,  HEINRICH  (1827-1883). 
See  Register,  5. 

McCLELLAN,  JOHN  JASPER  (b.  1874). 
See  Register,  8. 

McCONATHY,  OSBOURNE  (b.  1875). 
See  Register,  8. 

McCORMACK,  JOHN  (June  14,  1884, 
Athlone,  Ireland).  See  article  in  Vol.  v.  652. 
His  American  debut  was  at  the  Manhattan 
Opera  House  in  New  York,  on  Nov.  10,  1909, 
in  'La  Traviata. '  In  1910-11  he  sang  with 
the  Boston  Opera  Company  and  in  1912-13 
with  the  Chicago  Opera  Company.  Since 
then  he  has  devoted  himself  mainly  to  concert- 
work,  in  which  he  has  had  phenomenal  success. 
His  operatic  repertoire  includes  the  tenor  roles 


McCOY 


McWHOOD 


289 


in  'Madama  Butterfly,'  'La  Boh^me,'  'Faust,' 
'Cavalleria  Rusticana,'  'Don  Giovanni,'  'La 
Traviata,'  'Rigoletto,'  'Lakm6,'  'La  Fille  du 
R6giment '  and  '  Tosca. '  He  became  an  Amer- 
ican citizen  in  1917.  Holy  Cross  College 
made  him  Litt.D.  in  1917.     [  R.9  ] 

McCOY,  WILLIAM  J.  (Mar.  15,  1S48, 
Crestline,  O.),  was  a  pupil  of  William  Mason, 
Reinecke  and  Hauptmann.  For  years  he  has 
been  identified  with  the  musical  life  of  San 
Francisco.  For  the  Bohemian  Club  there  he 
has  written  the  music  for  the  '  Grove- Plays ' 
'The  Hamadryads'  (1904)  and  'The  Cave- 
Man'  (1910),  besides  the  unpublished  opera 
'Egypt'  (1914).  From  the  first  of  these  the 
Prelude,  Dance  and  'The  Naiads'  Idyl'  have 
often  been  given  separately  by  various  orches- 
tras, and  from  the  second  'The  Song  of  the 
Flint'  and  'The  Dance  of  the  Fireflies'  are 
issued  in  piano-arrangement  (Sherman,  Clay 
&  Co.).  He  has  published  many  orchestral 
pieces  and  the  overture  'Yosemite'  (Bellman 
&  Thiimer),  and  has  also  a  Symphony  in  F 
(1872,  Leipzig).  Among  his  chamber-works 
are  an  uncompleted  violin-concerto,  an  Intro- 
duction and  Valse  Concertante  for  flute  and 
orchestra,  a  sonata  for  violin  and  piano,  and  a 
Romance  for  saxophone  and  piano  (Carl 
Fischer) .  He  has  a  Mass  in  D  minor  for  chorus 
and  orchestra,  an  Ave  Verum  for  men's  chorus, 
Bolo  and  organ,  'Kol  Nidrei'  for  cantor,  con- 
tralto, chorus,  orchestra  and  organ,  and  con- 
siderable other  church-music.  His  published 
songs  are  also  numerous  (Ditson,  Schirmer, 
Schuberth,  Church,  etc.).  He  is  the  author  of 
Cumulative  Harmony.     [  R.6  ] 

McCUTCHAN,  ROBERT  GUY  (Sept.  13, 
1877,  Mountayr,  la.),  graduated  from  Park 
College  in  1898  and  took  a  Mus.B.  at  Simpson 
College  in  1904.  In  1899-1901  he  was  teach- 
ing and  concertizing,  and  in  1904  organized 
the  music-department  of  Baker  University  in 
Kansas,  remaining  till  1910.  After  a  year  of 
study  in  France  and  Germany  (while  in  Berlin 
directing  the  choir  of  the  American  Church), 
in  1911  he  became  dean  of  the  School  of  Mu- 
sic at  DePauw  University  in  Greencastle,  Ind. 
Since  1916  he  has  been  president  of  the  Indiana 
Music  Teachers'  Association  and  in  1920  be- 
came secretary  of  the  M.  T.  N.  A.  Since  1917, 
under  the  State  Council  for  Defense,  he  has 
been  active  in  promoting  community-singing 
(in  the  simamer  of  1918  he  made  about  165 
speeches),  with  encouraging  results.  In  view 
of  this  work  and  his  interest  in  music  in  col- 
leges he  is  preparing  a  work  on  Music  as  a 
Social  Force.     [  R.8  ] 

t  M'EWEN,  JOHN  BLACKWOOD  (Apr.  13, 
1868,  Hawick,  Scotland).  See  article  in  Vol.  iii. 
6-7.     His  works  to  1919  include  the  following  : 

Symphony  in  F  minor. 
Symphony  in  A  minor, 


'Solway'  Symphony  in  C-sharp  minor. 

'Three  Border-Ballada'  —  'Coronach,'  'The  De- 
mon Lover,'  'Grey  Galloway'  —  for  orchestra 
(Anglo-French  Music  Co.). 

Two  Overturea  —  'Comedy,'   'Tragedy.' 

Suite  in  E  for  orchestra. 

Ballet-Suite  for  orchestra. 

Highland  Dances  for  string-orchestra. 

Concerto  for  viola  and  orchestra. 

String-quartets  —  No.  1,  in  G,  No.  2,  in  C  minor. 
No.  3,  in  G  minor,  No.  4,  in  A,  No.  5,  in  F  minor, 
No.  6,  in  F,  No.  7,  in  E-flat,  No.  8,  in  A  minor 
(Novello),  No.  11,  in  C  minor  (Ricordi),  No. 
13,  'Biscay,'  in  A  (Anglo-French  Co.),  No.  14 
'Threnody,'  in  E-flat  (Anglo-French  Co.). 

Two  Studies  for  string-quartet. 

'Nugse,'  seven  Bagatelles  for  string-quartet 
(Hawkes). 

Phantasie-Quintet  in  E  minor,  for  two  violins, 
viola  and  two  'cellos. 

Sonatas  for  violin  and  piano  —  No.  1,  in  E-flat, 
No.  2,  in  F  minor  (Anglo-French  Co.),  No.  3, 
in  G,  No.  4,  in  A  (Anglo-French  Co.). 

Six  Highland  Dances  for  violin  and  piano  (Novello) . 

Sonata  in  E  minor,  for  piano  (Novello). 

Four  Sketches  for  piano  (Ricordi). 

Suite,  'Vignettes  from  La  Cote  d'Argent,'  for 
piano  (Anglo-French  Co.). 

Sonatina  in  G,  for  piano  (Anglo-French  Co.). 

'  A  Scene  from  Hellas,'  for  soprano  and  women's 
chorus. 

'  The  Last  Chantey,'  for  chorus. 

'  Hymn  on  the  Nativity,'  for  soprano  and  chorus. 

Opera  Comique,  'The  Royal  Rebel.' 

Recitation-music  for  the  melodrama  '  The  Game- 
keeper.' 

Accompaniment  for  '  Graih  my  Mree',  for  string- 
quartet,  piano  and  drums. 

Music  for  '  Romney's  Remorse.' 

Various  songs  and  part-songs  (Novello,  Augener, 
Stainer,  Anglo-French  Co.). 

His  published  books  are  A  Text-Book  of  Har- 
mony and  Counterpoint,  The  Elements  of  Music, 
A  Primer  of  Harmony,  Exercises  on  Phrasing 
in  Pianoforte-Playing,  The  Thought  in  Music 
(an  enquiry  into  the  principles  of  musical 
rhythm,  phrasing  and  expression).  The  Prin- 
ciples of  Phrasing  and  Articulation  in  Music 
and  The  Foundations  of  Musical  Esthetics. 

McGILL  UNIVERSITY,  Montreal,  has 
maintained  since  1904  a  Conservatorium  of 
Music  which  in  1908  was  fully  incorporated 
into  the  University  system  under  Harry  C. 
Perrin  as  director  and  first  University  professor. 
The  teaching-staff  numbers  about  25.  Local 
examinations  for  certificates  are  held  in  about 
fifty  places  in  the  Dominion. 

Mcknight,  george  morgan  (b. 

1866).     See  Colleges,  2  (Elmira  C,  N.  Y.). 

McPHAIL,  A.  M.  (d.  1902).    See  Register,  3. 

McPHEETERS,  CLAUDIA.  See  Col- 
leges, 2  (Milwaukee-Downer  C,  Wis.). 

McWHOOD,  LEONARD  BEECHER  (Dec. 
5,  1870,  Brooklyn),  had  his  early  education 
in  Newark,  graduated  from  Columbia  Uni- 
versity in  1893  and  continued  till  1898  as 
graduate-student  and  fellow  in  psychology, 
studying  under  MacDowell.  From  1897  he 
assisted  the  latter  and  in  1904-10  was  adjunct- 


290 


MEAD 


MENDELSSOHN  CHOIR 


professor.  He  also  taught  in  1902-07  at 
Vassar  College,  in  1907-16  at  Drew  Theological 
Seminary  in  Madison,  N.  J.,  in  1910-13  at  the 
National  Park  Seminary  in  Washington,  in 
1913-18  at  the  Newark  High  School,  and  since 
1918  has  been  professor  at  Dartmouth  College. 
He  has  been  active  in  furthering  music  as  a 
collegiate  study,  and  has  lectured  and  written 
often  on  the  subject.  He  has  conducted 
choruses,  orchestras  and  operatic  performances. 
His  works  include  three  cantatas  (one  with 
orchestra),  a  light  opera,  many  songs  and  in- 
strumental pieces.     [  R.8  ] 

MEAD,  OLIVE  (Nov.  22,  1874,  Cambridge, 
Mass.),  began  violin-study  at  seven,  her  teach- 
ers being  Eichberg  and  Kneisel.  She  ap- 
peared as  soloist  in  1898  with  the  Boston  Sym- 
phony Orchestra,  and  has  since  played  with 
all  the  leading  orchestras.  In  1904  she  organ- 
ized the  Olive  Mead  Quartet,  including  Eliza- 
beth Houghton,  Gladys  North  and  Lillian  Lit- 
tlehales  —  this  personnel  continuing  except  that 
Vera  Fonaroff  has  taken  Miss  Houghton's  place. 
The  Quartet  has  had  great  success  throughout 
the  East,  and  Miss  Mead  is  also  popular  as 
a  soloist.     [  R.8  ] 

MEES,  ARTHUR  (Feb.  13,  1850,  Colum- 
bus) ,  when  but  a  lad  was  organist  in  his  father's 
church  and,  after  taking  up  instrumental  study, 
began  anthem-writing.  In  1870  he  graduated 
from  Concordia  College  in  Indiana  and  went  to 
Cincinnati  as  teacher  of  piano  and  theory  in 
the  Wesleyan  Female  College,  organist  in  a 
succession  of  churches  and  conductor  of  singing- 
societies.  In  1873  Thomas  was  impressed  with 
his  work  as  accompanist  at  choral  rehearsals, 
so  that  he  was  made  organist  at  the  first  May 
Festival.  In  1873-76  he  was  in  Berlin,  on 
Rubinstein's  advice  taking  piano  with  Kullak, 
theory  with  Weitzmann  and  score-reading  and 
conducting  with  Dorn.  On  his  return  to  Cin- 
cinnati in  1880  he  was  trainer  of  the  Festival 
Chorus,  teacher  of  harmony  at  the  new  Col- 
lege of  Music  and  organist  for  the  Festivals. 
In  1886  he  went  to  New  York  as  assistant-con- 
ductor under  Thomas  of  the  National  Opera 
Company.  When  this  disbanded  he  directed 
the  Orpheus  Club  in  New  York,  the  Albany 
Festivals  and  other  choral  organizations.  In 
1896-98  he  moved  to  Chicago  to  assist  in  the 
direction  of  the  Thomas  Orchestra  there  and 
the  chorus  associated  with  it.  Returning  to 
New  York,  he  then  added  the  conducting  of 
the  Mendelssohn  Glee  Club  (1898-1904),  the 
Worcester  Festivals,  the  Cecilia  Society  of 
Boston,  the  Bridgeport  Oratorio  Society 
and  (from  1900)  was  associated  with  Paine 
in  the  Norfolk  Festivals,  in  1916  becoming  his 
successor.  During  this  extremely  varied  and 
significant  career  he  has  directed  many  first 
performances  for  America,  as  of  Bantock's 
'Omar    Khayydm,'     Piern6's     'St.     Francis,' 


Grainger's  'Marching-Song  of  Democracy,' 
Parker's  'The  Dream  of  Mary,'  Chadwick's 
'Land  of  our  Hearts,'  Coleridge-Taylor's  post- 
humous 'Orchestral  Rhapsody,'  Reger's  'The 
Nuns'  (Worcester),  Stanford's  Piano-Concerto 
and  Grainger's  Suite  'In  a  Nutshell'  (Nor- 
folk) .  He  has  published  Daily  Studies  for  the 
Piano,  Choirs  and  Choral  Music,  1901,  and 
edited  important  program-books  for  the  New 
York  Philharmonic  Society  (1887-96),  the 
Chicago  Symphony  Orchestra  (1896-98)  and 
the  Worcester  Festivals.  In  1901  Alfred  Uni- 
versity made  him  Mus.D.     [  R.6  ] 

MEGERLIN,  ALFRED  (b.  1880).  See 
Register,  10. 

\  MELBA,  Mme.  (May  19,  1861,  near  Mel- 
bourne, Australia).  See  article  in  Vol.  iii. 
104-5.  In  1897-98  she  was  with  the  Dam- 
rosch  Opera  Company,  in  1907  sang  a  few  times 
at  the  Manhattan  Opera  House,  in  1910  at  the 
Metropolitan  Opera  House  and  in  1917  with 
the  Chicago  Opera  Company.  Since  1918  she 
has  taught  in  Melbourne.  See  biography  by 
Murphy,  1909. 

MELIS,  CARMEN  (b.  1885).  See  Regis- 
ter, 9. 

'MELODEON.'  The  name  usually  used 
at  first  for  the  American  form  of  reed- 
organ. 

MELTZER,  CHARLES  HENRY  (1852, 
London,  England),  was  musically  trained  in 
London  and  Paris,  and  became  foreign  corre- 
spondent for  the  Chicago  'Tribune'  and  the 
New  York  'Herald.'  He  came  to  New  York 
in  1888  and  was  dramatic  critic  for  the  '  Herald,' 
'World,'  'American,'  and  'Cosmopolitan  Maga- 
zine.' In  1903-07  he  was  assistant  to  Grau 
and  Conried  at  the  Metropolitan  Opera  House. 
Besides  many  plays  which  have  been  successful 
on  the  stage,  he  has  written  several  opera- 
librettos,  such  as  'The  Garden  of  Allah,'  'The 
Sunken  Bell'  and  'Cophetua,'  and  prepared 
many  singing-versions  from  the  French,  Ger- 
man and  Italian,  as  of  Monteverde's  'Orfeo,' 
'  Les  Contes  d'Hoffmann,'  '  Les  Dragons  de  Vil- 
lars,'  'Die  Walkure,'  'Das  Rheingold'  and  'Die 
Konigskinder.'  He  has  been  a  strong  advo- 
cate of  opera  in  English,  of  a  National  Con- 
servatory and  of  a  National  Opera  House. 
I  R.7  1 

MENDELSSOHN  CHOIR,  THE,  of  To- 
ronto, was  founded  in  1894  by  Augustus  S. 
Vogt,  who  developed  it  to  an  extraordinary 
pitch  of  proficiency  and  remained  conductor 
till  1917.  He  was  succeeded  by  Herbert  A. 
Fricker.  Its  singers  are  chosen  by  rigid  tests 
year  after  year  and  its  rehearsals  carried  out 
with  the  precision  of  an  orchestra,  and  the  re- 
sult is  a  perfection  of  tone-quality,  of  accuracy, 
of  elasticity,  shading  and  artistic  expressive- 
ness unsurpassed  in  America  —  perhaps  any- 
where.    In  Toronto  the  Choir  gives  usually  an 


MENDELSSOHN  CLUB 


MERZ 


291 


annual  festival  of  five  performances,  and  it  has 
repeatedly  made  tours  in  the  United  States, 
notably  in  1912.  Its  repertoire  includes  al- 
most everything  of  importance  in  choral  music 
—  a  cappella  or  with  orchestra. 

MENDELSSOHN  CLUB,  THE  CHICAGO, 
was  organized  in  1894  with  Frederick  W.  Root 
as  first  conductor.  Since  1895  its  director  has 
been  Harrison  M.  Wild.  The  usual  number 
of  singers  is  about  70.  Three  regular  concerts 
are  given  annually  and  three  for  charitable 
objects,  making  a  total  since  organization  of 
over  150.  The  repertory  includes  more  than 
500  works,  with  emphasis  upon  the  finest  part- 
songs,  but  including  some  works  with  orchestra, 
like  Mendelssohn's  music  for  'Antigone,'  Da- 
vid's 'Le  D6sert,'  Reinecke's  Festival  Over- 
ture, op.  218,  Wagner's  'Das  Liebesmahl,' 
Brahms'  Rhapsodic,  Bruch's  'Frithjof,'  Buck's 
'Voyage  of  Columbus,'  Zollner's  'Young  Sieg- 
fried '  and  Harling's  '  Before  the  Dawn.'  Many 
shorter  works  have  been  written  especially 
for  the  Club.  Some  of  the  larger  American 
compositions  are  Buck's  'Paul  Revere's  Ride' 
and  'Chorus  of  Spirits  and  Hours,'  Foote's 
'Farewell  of  Hiawatha,'  Parker's  Ode  for 
Commencement-Day,  'The  Leap  of  Roushan 
Beg'  and  'Spirit  of  Beauty,'  Cadman's  'The 
Vision  of  Sir  Launfal,'  and  Harling's  'The  Two 
Angels'  and  'Death  of  Minnehaha.' 

MENDELSSOHN  CLUB,  THE,  of  Phila- 
delphia, was  formed  in  1874  by  William  W. 
Gilchrist  out  of  his  choir  at  St.  Clement's  and 
properly  organized  in  1876  as  a  glee-club  of  16 
voices.  In  1879  the  chorus  was  made  mixed 
and  the  size  increased  to  30  singers.  At  times 
the  membership  has  been  as  high  as  150,  and 
at  present  is  about  100.  Gilchrist  continued 
as  conductor  till  1915,  when  ill-health  forced 
a  leave  of  absence.  After  his  death  at  the 
end  of  1916  N.  Lindsay  Norden  became  con- 
ductor. For  a  few  years  from  1889  the  Club 
maintained  its  own  orchestra,  and  it  has  re- 
peatedly sung  with  the  Philadelphia  Symphony 
Orchestra.  Thus  in  1904,  '07  and  '14  it  assisted 
in  giving  Beethoven's  9th  Symphony  and  in 
1916  in  several  performances  of  Mahler's  8th 
Symphony.  In  1909,  with  other  clubs,  it 
celebrated  the  Mendelssohn  Centenary.  One 
of  its  most  striking  concerts  was  the  giving 
of  Henschel's  Requiem  in  1906.  Mr.  Norden 
has  introduced  many  a  cappella  Russian  works, 
hitherto  unknown  outside  of  Russia. 

MENDELSSOHN  GLEE  CLUB,  THE,  of 
New  York.  See  article  in  Vol.  iii.  370.  Frank 
Damrosch  continued  as  conductor  till  1909, 
being  succeeded  in  1909-13  by  Clarence  Dick- 
inson, in  1913-19  by  Louis  Koemmenich  and 
since  1919  by  Nelson  P.  Coffin. 

MENDELSSOHN  QUINTETTE  CLUB, 
THE,  of  Boston,  was  the  first  artistic  chamber- 
music  group  in  America.     It  was  organized  in 


1849,  with  August  Fries  as  leader,  Gerloff 
(second  violin),  Thomas  Ryan  (viola  or  clari- 
net), Edward  Lehmann  (flute  or  viola)  and 
Wulf  Fries  ('cello).  Francis  Riha  soon  re- 
placed Gerloff.  In  1858-77  William  Schultze 
was  leader,  with  Carl  Meisel  as  second  and 
Edward  M.  Heindl  as  flute.  Ryan  and  Wulf 
Fries  continued  in  the  Club  till  its  dissolution 
about  1895.  The  organization  became  well 
known  throughout  the  country  and  for  nearly 
fifty  years  exerted  an  invaluable  influence,  pre- 
paring the  way  for  several  later  groups. 

MENDELSSOHN  SOCIETY,  THE,  of 
Chicago,  was  an  early  choral  society,  main- 
tained in  1858-65  under  the  leadership  of 
Adolph  W.  Dohn. 

MENEELY,  ANDREW  (1801-1851).  See 
Register,  3. 

MENEELY  &  CO.,  of  West  Troy  (now 
Watervliet),  N.  Y.,  for  nearly  a  century  have 
conducted  a  bell-founding  business  of  national 
importance.  The  business  was  started  in  1826 
by  Andrew  Meneely,  who  in  1851  was  suc- 
ceeded by  his  sons  Edwin  A.  Meneely  (1829- 
1887)  and  George  R.  Meneely  (1831-1915). 
In  1874  the  present  firm-name  was  adopted 
and  in  1880  the  present  president,  Andrew  H. 
Meneely  (b.  1853),  came  in.  This  famous 
factory  has  supplied  a  large  number  of  the 
finest  chimes  in  the  country,  as  well  as  sets 
of  bells  for  organs.  They,  with  other  manu- 
facturers who  have  followed  them,  have  in- 
troduced refinements  and  additions  to  Euro- 
pean practice  that  have  made  American  bells 
artistically  notable. 

MERRILL,  ABRAHAM  DOW  (1796- 
1878).     See  Tune-Books,  1834. 

MERRILL,  WINFRED  B.  See  State 
Universities  (Ind.). 

MERRY,  HERBERT  ORAL.  See  Col- 
leges, 3  (Lincoln  C,  111.). 

MERZ,  KA.RL  (Sept.  19,  1836,  Bensheim, 
Germany  :  Jan.  30,  1890,  Wooster,  O.), 
early  learned  the  violin  and  organ  from  his 
father,  becoming  organist  at  eleven.  In  1854 
he  came  to  Philadelphia,  through  Bonawitz 
got  employment  in  theater-orchestras,  for  a 
year  was  organist  in  the  Sixth  Presbyterian 
Church  and  tried  critical  writing.  In  1856-59 
he  taught  at  a  school  near  Lancaster,  was  then 
two  years  in  the  South,  and  on  the  outbreak 
of  the  Civil  War  in  1861  became  music-director 
at  Oxford  Female  College  in  Ohio,  where  he 
remained  till  1882.  From  1868  he  contributed 
to  'Brainard's  Musical  World'  and  from  1873 
was  its  editor,  making  a  decided  impression 
by  his  thoughtful  articles.  From  1882  he  was 
head  of  the  music-department  of  Wooster 
University  at  Wooster,  O.  He  wrote  a  piano- 
trio,  a  piano-sonata  in  C  minor,  many  piano- 
pieces  and  songs,  the  operettas  '  The  Last  Will 
and  Testament'  (1877,  Oxford),  'Katie  Dean' 


292 


MESSAGER 


METROPOLITAN  OPERA  HOUSE 


(1882,  Oxford)  and  '  The  Runaway  Flirt '  (pub- 
lished in  1868),  and  various  choruses,  quartets 
and  organ-pieces.  He  published  Methods  for 
the  reed-organ  and  piano,  and  Elemeiits  of 
Harmony  and  Composition,  1881.  His  collected 
essays  appeared  as  Music  and  Culture,  1890. 
His  fine  library  became  the  basis  of  the  musical 
collection  in  the  Carnegie  Institute  of  Pitts- 
burgh.    [  R.4  ] 

t  MESSAGER,  ANDR6  CHARLES  PROS- 
PER (Dec.  30,  1853,  Montlugon,  France).  See 
article  in  Vol.  iii.  183.  He  left  Covent  Garden 
in  1907.  In  1908-14  he  was  director  and  chef 
d'orchestre  at  the  Grand-Opera  in  Paris,  in 
1908  succeeded  Marty  as  conductor  of  the  Con- 
certs du  Conservatoire  and  in  1918  brought 
this  orchestra  for  50  concerts  in  the  United 
States  and  Canada  under  the  auspices  of  the 
French  government.  On  his  return  he  retired 
from  active  conducting.  To  the  list  of  works 
add  the  operas  'Fortunio'  (1907,  Paris,  Opera- 
Comique),  and  'Beatrice'  (1914,  Monte  Carlo). 

MESSITER,  ARTHUR  HENRY  (1834- 
1916).     See  Register,  5. 

METCALFE,  SAMUEL  L.  (1798-1856). 
See  Tune-Books,  1817. 

METROPOLITAN  CONSERVATORY  OF 
MUSIC,  THE,  of  New  York,  was  established 
in  1886  by  Charles  B.  Hawley  and  Herbert  W. 
Greene,  at  first  chiefly  as  a  school  of  singing. 
Its  scope  was  soon  broadened,  and  in  1891  it 
was  incorporated  under  the  Board  of  Regents 
as  the  Metropolitan  College  of  Music.  Its 
faculty  included  S.  P.  V/arren,  H.  R.  Shelley, 
A.  R.  Parsons  and  others  of  high  standing.  In 
1900  it  was  reorganized  as  the  American  Insti- 
tute of  Applied  Music. 

METROPOLITAN  OPERA  HOUSE,  THE, 
in  New  York.  See  Vol.  iii.  4G9-71.  Conried's 
administration  continued  till  February,  1908, 
when,  after  months  of  ill-health,  he  resigned. 
He  was  succeeded  by  Giulio  Gatti-Casazza, 
who  for  ten  years  had  been  manager  of  La 
Scala  in  Milan,  and  his  efficient,  intelligent  and 
on  the  whole  sufficiently  enterprising  adminis- 
tration has  continued  ever  since  —  the  longest 
and  most  successful  in  the  history  of  the  institu- 
tion. With  him  for  two  years  was  associated 
Andreas  Dippel,  who  in  1910  joined  the  Phila- 
delphia-Chicago Company. 

In  1906-10  occurred  the  exciting  competition 
between  the  Metropolitan  and  the  Manhattan 
Opera  Houses,  which  served  to  arouse  much 
public  attention  and  to  stimulate  managerial 
ambition  on  both  sides.  The  directors  of  the 
Metropolitan  finally  bought  off  Hammerstein's 
interest  and  bound  him  not  to  produce  grand 
opera  in  New  York  for  ten  years.  In  1910 
they  fostered  the  formation  of  the  Boston 
Opera  Company  and  from  that  time  extended 
their  activities  to  Philadelphia  and  Baltimore. 
But  in  1910  was  also  formed  the  Philadelphia- 


Chicago  Grand  Opera  Company,  which  in  the 
end  came  to  be  a  strong  rival,  though  not  at 
once  active  in  the  New  York  field.  Mean- 
while in  New  York  the  Metropolitan  promoted 
a  new  enterprise  in  1909-11  at  the  New  Theater 
for  the  production  of  works  better  suited  to  a 
smaller  house.  A  similar  secondary  effort  was 
made  in  1913-15  in  the  Century  Opera  Com- 
pany. 

The  outbreak  of  the  World  War  in  1914 
affected  the  Metropolitan  in  two  ways.  Large 
numbers  of  artists  became  available  through 
temporary  or  permanent  migration  from  Eu- 
rope. And  ultimately  the  entry  of  the  United 
States  into  the  contest  led  to  the  ejection  of 
many  German  singers  from  the  personnel  and 
the  removal  of  German  works  from  the  reper- 
tory. The  general  consequence  was  to  alter 
the  balance  of  performances  in  favor  of 
French,  Italian  and  other  works.  But  the 
war  did  not  interfere  seriously  with  the 
continuity  or  significance  of  the  successive 
seasons.  (3 

The  catalogue  of  new  works  in  the  repertory 
is  as  follows : 

1908-09  —D'Albert,  'Tiefland'  (Nov.  23),  Puccini. 
'Le  Villi'  (Dec.  17),  Catalani,  'La  Wally'  (Jan. 
6),  Smetana,  'The  Bartered  Bride'   (Feb.  19). 

1909-10  —  Franchetti,  'Germania'  (Jan.  22),  Bru- 
neau,  'L'Attaque  du  Moulin'  (Feb.  8),  Tchai- 
kovsky, 'Pique  Dame'  (Mar.  5),  Converse,  'The 
Pipe  of  Desire'  (Mar.  18). 

1910-11  —  Gluck,  'Armide'  (Nov.  14),  Puccini, 
'La  FanciuUa  del  West'  (Dec.  10),  Humper- 
dinck,  'Die  Konigskinder'  (Dec.  28),  Dukas, 
'Ariane  et  Barbe-Bieue'  (Mar.  29). 

1911-12  — Thuille,  'Lobetanz'  (Nov.  17),  Wolf- 
Ferrari,  'Le  Donne  Curiose'  (Jan.  3),  Blech, 
'Versiegelt'  (Jan.  20),  Parker,  'Mona'  (Mar.  4). 

1912-13  —  Damrosch,  'Cyrano  de  Bergerac'  (Feb. 
27),  Mussorgsky,  'Boris  Godunov'  (Mar.  19). 

1913-14  —  Strauss,  'Der  Rosenkavalier'  (Dec.  9), 
Montemezzi,  'L'Amore  dei  Tre  Re'  (Jan.  14), 
Herbert,  'Madeleine'  (Jan.  24),  Charpentier,  'Jul- 
ian' (Jan.  27),  Wolf-Ferrari,  'L'Amore  Medico' 
(Mar.  25). 
914-15  —  Giordano,  'Madame  Sans-Gtoe'  (Jan. 
25),  Leoni,  'L'Oracolo'  (Feb.  4),  Mascagni, 
'Iris'  (Apr.  1). 

1915-16  — Borodin,  'Prince  Igor'  (Dec.  30),  Gra- 
nados,  'Goyescas'  (Jan.  28),  Goetz,  'The  Tam- 
ing of  the  Shrew'  (Mar.  15). 

1916-17  —  Bizet,  'Les  Pficheurs  de  Perles'  (Nov. 
13),  Gluck,  'IphigSnie  en  Tauride"  (Nov.  25), 
Polacco,  'Francesca  da  Rimini'  (Dec.  22),  De 
Koven,  'The  Canterbury  Pilgrims'  (Mar.  8). 

1917-18  — Rabaud,  'Mfirouf  (Dec.  19),  Liszt, 
'St.  Elizabeth'  (Jan.  3),  Mascagni,  'Lodoletta' 
(Jan.  12),  Rimsky-Korsakov,  'Le  Coq  d'Or' 
(Mar.  6),  Cadman,  'Shanewis'  (Mar.  23), 
Gilbert,  'Dance  in  Place  Congo'  (Mar.  23). 

1918-19  —  Verdi,  'La  Forza  del  Destine'  (Nov. 
15),  Puccini,  'II  Tabarro,'  'Suor  Angelica,' 
'Gianni  Schicchi'  (Dec.  14),  Weber,  'Oberon' 
in  English  (Dec.  28),  Ricci,  'Crispino  e  la  Co- 
mare'  (Jan.  18),  Leroux,  'La  Reine  Fiammette' 
(Jan.  24),  Gounod,  'Mireille'  (Feb.  28),  Breil, 
'The  Legend,'  Hugo,  'The  Temple  Dancer' 
(Mar.  12). 


METROPOLITAN  OPERA  HOUSE 


293 


1919-20  —  Rossini,    'L'ltaliana    in  Algeri'    (Dec. 
5),  Wolff,  'L'Oiscau  Bleu'  (Dec.  27),  Leoncavallo, 
'Zaza'    (Jan.    16),   Hadley,    'Cleopatra's   Night' 
(Jan.  31),  Tchaikovsky,  'Eugene  Onegin'  (Mar. 
24). 
The  conspicuous  conductors  have  been  Al- 
fred Hertz  in   1902-15,   Arturo  Toscanini  in 
1908-15,  Giorgio  Polacco  since  1912  and  Artur 
Bodansky  since  1915.     For  details  about  the 
many  singers  see  Krehbiel,  More  Chapters  of 


Opera,  1919,  and  the  excellent  articles  on 
'Music'  in  The  New  International  Y ear-Book, 
1907  ff .  Krehbiel's  book  also  supplies  a  wealth 
of  historical  and  critical  comment.  Upon  this 
and  its  predecessor.  Chapters  of  Opera,  1908, 
this  article  is  largely  based. 

Below  is  a  tabular  resume  of  the  perform- 
ances (in  the  regular  seasons)  at  the  Metropoli- 
tan since  its  foundation : 


» 
n 
n 
< 

Stanton 

^0 

Grau 

I 

00 

U3     CO     (-.     00      05      O     --1 

Op    00    00    Op    00    o>    o 
•*    lo    CD    r-    00    (i    o 

00      00       00       00       CO       00       Ol 

05 

t)i    in    CO    t^ 

Cs      03      0>     Oi 

CO       T}<       lO       CO 
^      Oi      '^      ^ 

98-99 
99-00 
00-01 
01-02 
02-03 

3.342.3 
.     2      ....     3 

2 

1 

.    .    1    . 

12     7  11     7 
.      .      1 

11.. 

Bizet  —  Carmen 

5 

2  11      .      7     2 

2 
3 

.      .      2     4 

.      .      2     .      . 



2     3     3     2 

12     2.. 

.      ..36 

.      .     2     2 

.3.11 

3 

1 
4 
8 

.      .      .      2 
1.1. 
8     7     8  10 
4.21 

1      .      .      .      . 

Gluck  —  Orfeo 

6 

.5344.      . 

7     9     5     5     7 

3 

5     4     4     5 

6     5     4     3     2 

3 

Huguenot3 

Prophete 

2 
1 

5     ...     5     .     3 
9     3     5     2     3.1 
.      .      .      .     5     .     3 

4 
2 
4 
1 

2     6     5     2 
!      i      !      1 

4  2  3  3  3 
2  2  .  .  1 
111.. 

3      .      .      . 
13.3 

3     4.21 

Don  Giovanni 

5 

2     ....     2     . 

3 

4  11.1 
.5.32 

3 

4     4      .      .     3 

3     1.. 

Guillaume  Tell 

Thomas  —  Mignon 

Hamlet 

4 

1 

3     .      .      .32. 

2 
2 

.     2     .      . 
.     1      .      . 
1.21 

.  1  .  .  . 
.      .      .      .     3 

Rigoletto 

Trovatore 

2 
3 

4 

1 

....53. 

2 
2 

2     4     11 
.322 
112     3 

111.1 
.  3  .  .  1 
2     2.14 

4 

.      .      .      .      1 

Aida 

.      .     4.33. 

2 
1 

.343 
.     4      .      . 
.33. 

3     5     3     5     7 

Otello 

...     3     3 

Falstaff 

.     7     5     .      .     1      ■ 

Hollander 

5     4 

3 

3 

2 
2 

2.33 
5     5     6     6 

.      .     2      . 
...     6 

.      !      6     2 
3.13 

.31.. 

9     4     6    4     5     5     7 
9     4     4     6     2     5     7 
.      .      .      .93. 

6     5     4     2     4 

Lohengrin 

6 

7  7  6  4  7 
12     112 

7     4     3     4     4     3     4 
.      .      .    11     6     2     4 

4     6     3     3     3 

12     113 

.      .      .      7     4     5     4 

12    2     2     2 

Tristan 

.      .83.53 

5     3     4     3     4 

8     5     15     3     6 

.4212 

Auber  —  Masaniello 

2 

3.2.... 


.     4     . 

5    4 

2 

2 

Franchetti  —  Asrael 

6 

294 


METROPOLITAN  OPERA  HOUSE 


Goldmark  —  Queen  of  Sheba     . 
Merlin      .     .     .     . 

Hal6vy  —  Juive 

Nessler  —  Trompeter  .  .  .  . 
Ponchielli  —  Gioconda  .  .  . 
Smareglia  —  Vasall  von  Szigeth 

Spontini  —  Cortez 

Weber — Freischlitz     .     .     .     . 
Euryanthe      .     .     .     . 


00  00  00 


00  05  O  "-I 

00  00  05  en 

A  ol  d.  i 

00  00  00  o> 


15  4 
.   5 


Bemberg  — Elaine       .... 

Lara  —  Messalina 

Leoncavallo  —  Pagliacci  .  . 
Mancinelli  —  Ero  e  Leandro  . 
Mascagni  —  Cavalleria  . 

L'Amico  Fritz 
Massenet  —  Le  Cid    .... 

Werther       .     .     . 

Manon    .... 

Navarraise  .  . 
Nicolai  —  Merry  Wives  .  .  . 
Paderewski  —  Manru  .  .  . 
Puccini  —  Boh^me      .... 

Tosca 

Reyer  —  Salammbo    .... 
Saint-Saena  —  Samson  et  Dalila 
Smyth  —  Der  Wald     .... 


3     3     2. 

.7.4 


Ghau 


Ui     Oi      Oi      Oi 

CO    -^     o     to 

05      05       Ol       C3 


3     2     2 


7     3 
2      . 


7     4 


P    P    Pi 


.  3  . 

.  1  6 

.  .  2 

3  4  1 


3     2 


CONRIED 

Gatti-Casazza 

s 

1 

CO 

p 

to 
o 

1 

P 

O 

o 

00 

o 
p 

o 
p 

o 

1 
p 

I 

(M 

CO 

7 

IM 

7 

CO 

ta 

1 

o 
^ 

1 

00 

OS 

1 

o 

IN 

dj 

1 

4 
4 

1 

4 

1 
1 
3 

2 

2 
2 

2 

5 

4 
2 
4 

i 

3 

4 

i 

3 

4 

4 
5 

8 

4 

i 

3 

6 

5 

4 

5 

1 

6 
2 

7 

4 

7 

2 

6 

7 

7 

4 
3 

6 
11 

8 

7 

3 

7 
7 
9 

6 

2 

4 

4 
6 
9 

5 

2 

i 

6 
6 
9 

3 

5 
9 

6 

4 

7 

3 
4 

3 
5 

4 

4 
2 

4 
4 

4 

3 

3 
3 
3 
5 

2 

3 
3 

5 
3 

4 
7 

5 

5 

5 

3 
6 

5 
6 
5 

5 

5 

1 
4 

5 

6 
4 

6 
6 
3 

Bellini  —  Sonnambula 

Puritani 

7 

Prehears 

Delibes  —  Lakmd 

Donizetti  —  Elisir  d'Amore 

Lucrezia  Borgia 

5 

4 

Fille  du  Regiment 

Favorita 

4 

Stradella 

Mme.  Sans-Gene 

4 
2 

4 
4 

5 

11 
3 

6 

Rom6o  et  Juliette 

Mireille 

Konigskinder 

5 

8 

3 
3 

6 

Zaza 

7 
5 

Lodoletta 

• 

• 

METROPOLITAN  OPERA  HOUSE 


295 


Meyerbeer  —  Huguenots .  .  ,  . 
Prophfite  .  .  .  . 
L'Africaine      .     . 

Mozart  —  Figaro 

Don  Giovanni      .     .     . 

Magic  Flute     .     .     .     . 

Ponchielli  —  Gioconda      .     .     .     . 

Puccini  —  Villi 

Man  on  Lescaut    .     .     . 

Bohdme 

Tosca 

Puccini  —  Butterfly 

Fanciulla  del  West   .     . 
II  Tabarro,  etc.     .     .     . 

Rossini  —  Barbiere 

Italiana  in  Algeri       .     . 
Strauss,  Richard  —  Salome  . 

Rosenkavalier 

Verdi  —  Rigoletto 

Trovatore 

Traviata 

Ballo  in  Maschera  .     .     . 

Aida 

Otello 

Falstafif 

Forza  del  Destino  .     .     . 

Wagner  —  Hollander 

Tannhauser     .... 

Lohengrin 

Rheingold 

Walkilre 

Siegfried 

Gotterdammerung   . 

Tristan 

Meistersinger  .... 
Parsifal 


Berlioz  —  Damnation  of  Faust 
Boieldieu  —  Dame  Blanche  .     .     . 

Boito  —  Mefistofele 

Cilte  —  Adriana  Lecouvreur    .     . 
Goldmark  —  Queen  of  Sheba    . 
Strauss,  Johann  —  Fledermaus 

Zigeunerbaron 
Thomas  —  Mignon 


1     2 


4     4.. 


.  .  .  3  5 

3  3  5  7  7 

4  4  3  6  7 
.  .  .  5  6 


4     2     2 


5  2  5  2  4 
.  .4.6 
3  4  2  3  6 
.  2      .      .      . 

6  5     4     6     5 


5     6     5 


3     2 


.      .9664 
6     6     5    5     2     . 


7  7 
6     6 

8  6 


.  5 

8  6 

.  5 

7  8 


3  3 

7  5 
6  3 

8  4 


2     3 


9 
6 
2 
4 
2 
2 
2 
7 
11     8 


4     1 
1 


d'Albert  —  Tiefland 

Auber  —  Fra  Diavolo     .... 

Blech  —  Versiegelt 

Borodin  —  Prince  Igor  .... 

Breil  —  The  Legend 

Cadman  —  Shanewis      .... 

Catalan!  —  Wally 

Charpentier  —  Julieti  .... 
Converse  —  Pipe  of  Desire  .  . 
Damrosch  —  Cyrano  de  Bergerac 
De  Koven  —  Canterbury  Pilgrims 

Dukas  —  Ariane 

Franchetti  —  Germania  .  .  . 
Gluck  —  Orfeo 

Armide 

Iphig6nie  en  Tauride     . 
Goetz  —  Taming  of  the  Shrew     . 

Francesca  da  Rimin 
Granados  —  Goyescas    .... 
Hadley  —  Cleopatra's  Night  .     . 

Hal6vy  —  Juive 

Herbert  —  Madeleine  .... 
Hugo  —  Temple  Dancer     .     .     . 

Leoni  —  Oracolo 

Leroux  —  Reine  Fiamette  . 
Liszt  —  St.  Elizabeth     .... 
Massenet  —  Werther     .... 

Manon 

Thais 

Montemezzi  —  Amore  dei  Tre  RS 


4  2     4     5     1 

5  6     6     4     4 
5     3     3     2     3 


7  8  7  5 
6  5  4  3 
2     .      .      . 


7     4     6 


1     1 
5     6 


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296 


METS 


MIESSNER 


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Mussorgsky  —  Boris  Godunov     .     . 
Offenbach  —  Contes  d'Hoffmann     . 

Parker  —  Mona 

Rabaud  —  Marouf 

Ricci  —  Crispino 

Rimsky-Korsakov  —  Coq  d'Or    .     . 
Saint-Saens  —  Samson  et  Dalila 
Smetana  —  Bartered  Bride      .     .     . 
Tchaikovsky  —  Pique-Dame  .     .     . 
Eugene  Onegin  . 

Thuille  —  Lobetanz 

Weber  — ■  Freischiitz 

Euryanthe 

Oberon 

Wolf-Ferrari  —  Donne  Curiose    .     . 
Amore  Medico    . 
Segreto  di  Susanna 
Wolff  —  Oiseau  Bleu 


4     6 
7     2 


4     6     4     3 


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6     5 


METS,  ISABEL.  See  Colleges,  2  (Ham- 
ilton C,  Ky.)- 

MEYER,  CONRAD  (d.  1881).  See  Regis- 
ter, 3. 

MEYER,  HENRY  EDWIN.  See  Col- 
leges, 3  (Howard  Payne  C,  Tex.). 

MEYER,  JULIUS  EDUARD  (1822-1899). 
See  Register,  4. 

MEYER,  MAX  FRIEDRICH  (b.  1873). 
See  Register,  9. 

MEYER,  RUDOLPH  J.  See  Colleges,  3 
(Susquehanna  U.,  Pa.)- 

MICHALEK,  BOHUMIL  (b.  1885).  See 
Register,  9. 

MICKWITZ,  PAUL  HAROLD  VON  (b. 
1859).  See  Colleges,  3  (Southern  Method- 
ist U.,  Tex.). 

MIDDELSCHULTE,  WILHELM  (Apr.  3, 
1863,  Werne,  Germany),  was  trained  at  the 
Institute  for  Church  Music  in  Berlin  under 
Haupt,  Loeschhorn,  Alsleben,  Commer  and 
Schroder,  and  in  1888-91  was  organist  at  the 
Lukas-Kirche.  In  1891  he  came  to  Chicago 
as  organist  at  the  Cathedral  of  the  Holy  Name, 
remaining  four  years.  At  this  time  he  studied 
theory  with  Ziehn.  In  1894-1918  he  was  or- 
ganist of  the  Thomas  (Chicago)  Orchestra. 
In  1899-1919  he  was  organist  at  St.  James' 
(R.  C),  and  also  teacher  of  organ  and  theory 
in  the  Wisconsin  Conservatory  in  Milwaukee. 
With  the  Chicago  Orchestra  under  Thomas  or 
Stock  he  has  played  works  like  the  Handel 
Concertos  in  G  and  F,  the  Rheinberger  Con- 
certos in  F  and  G  minor,  the  Guilmant  Con- 
certo in  D  minor,  Klose's  Fantasia  and  Double 
Fugue,  and  Borowski's  'Allegro  de  Concert,' 
besides,  for  the  first  time  in  America,  the  Liszt- 
Kaun  Fantasia  and  Fugue  on  '  Ad  nos  ad  salu- 
tarem  undam,'  Oldberg's  Concerto  in  F,  Widor's 


Symphonia  Sacra  and  'Salvam  fac  populum 
tuum,'  the  Bach-Busoni '  Fantasia  Contrappun- 
tistica'  (dedicated  to  him  and  arranged  by 
him  and  Stock),  his  own  Concerto  in  A  minor 
and  arrangement  of  Bach's  Chaconne.  These 
performances,  with  numerous  recitals  in 
America  and  Europe,  give  him  high  rank 
among  living  organists.  He  has  published  a 
Passacaglia  in  D  minor.  Canons  and  Fugue 
on  'Vater  unser,'  Toccata  on  'Ein  feste  Burg,' 
Concerto  in  A  minor.  Meditation  on  'Alls 
Menschen  miissen  sterben,'  Canonical  Fantasia 
on  B-A-C-H  and  a  cadenza  to  Handel's  4th 
Concerto,  besides  transcriptions  of  the  Bach 
Chaconne,  the  Bach-Busoni  Fantasia  and 
parts  of  Wolf-Ferrari's  'I  Giojelli  della  Ma- 
donna.' Unpublished  are  a  Chaconne  in  E 
minor,  arrangements  of  Bach's  Chromatic 
Fantasia  and  Fugue  and  of  the  '  Musikalisches 
Opfer,'  etc.     [  R.8  ] 

MIDDLETON,  ARTHUR  D.  (b.  1880). 
See  Register,  9. 

MIERSCH,  KARL  ALEXANDER  JO- 
HANNES (1865-1916).     See  Register,  8. 

MIERSCH,  PAUL  FRIEDRICH  THEO- 
DOR  (b.   1868).     See  Register,  8. 

MIESSNER,  W.  OTTO  (May  26,  1880, 
Huntingburg,  Ind.),  after  a  high-school  edu- 
cation, in  1900  gained  a  certificate  from  the 
College  of  Music  in  Cincinnati.  In  1900-04 
he  was  music-supervisor  at  Booneville,  Ind., 
in  1904-09  at  Connersville,  Ind.,  and  in  1910- 
14  at  Oak  Park,  111.  In  1909-10  he  studied 
with  Kelley.  Since  1914  he  has  been  music- 
director  at  the  State  Normal  School  in  Mil- 
waukee. He  has  written  the  cantatas  'The 
Queen  of  May,'  op.  1  (Willis),  and  'Christus,' 
op.  3  ;  a  Festival  Overture,  op.  5,  for  orchestra ; 
a  'Liberty  March,'  op.  6,  for  orchestra;  inci- 


MILLARD 


MILLS 


297 


dental  orchestral  music  for  'As  You  Like  It' 
and  '  The  Tempest,'  opp.  7,8;'  Miniature  Op- 
erettas,' op.  9  (Am.  Music  Co.) ;  Sonata  in 
E  minor,  op.  10,  for  piano  (Am.  Music  Co.)  ; 
besides  songs  and  piano-pieces.  He  has  also 
published  The  Motif-Method  of  Music-Read- 
ing and  The  Place  of  Music  in  Education, 
and  collaborated  in  The  Progressive  Music 
Series.      [  R.9  ] 

MILLARD,  CLEMENT.  See  Tune-Books, 
1810. 

MILLARD,  HARRISON  (1830-1895).  See 
Register,  4. 

MILLER,  DAYTON  CLARENCE  (b. 
1866).     See  Register,  7. 

MILLER,  FRANK  E.  (Apr.  12,  1859, 
Hartford,  Conn.),  graduated  from  Trinity  Col- 
lege in  1881  and  from  the  College  of  Physicians 
and  Surgeons  in  New  York,  settling  there  as 
laryngologist.  He  has  been  a  diligent  in- 
vestigator, practitioner  and  writer  in  this  field, 
not  only  inventing  many  novel  instruments 
pertaining  to  the  throat  and  the  ear  and  treat- 
ing numerous  famous  singers,  but  evolving  an 
original  general  theory  of  vocal  art-science 
under  the  term  '  kinsesthesia '  (rhythmic  vibra- 
tion and  its  perception  and  coordination) .  He 
has  published  The  Voice,  1910,  Vocal  Art- 
Science,  1917,  and  a  great  number  of  articles 
in  scientific  periodicals.     [  R.7  ] 

MILLER,  GEORGE  HAROLD.  See  Col- 
leges, 3  (Dakota  Wesleyan  U.,  S.  D.). 

MILLER,  HENRY  F.  (1825-1884).  See 
Register,  4. 

MILLER  &  SONS  PIANO  COMPANY, 
THE  HENRY  F.,  of  Boston,  was  founded  in 
1863  by  Henry  F.  Miller  and  since  1884  has 
been  conducted  by  his  five  sons,  Edwin  C. 
Miller  being  now  president.  Their  pianos 
have  always  maintained  a  high  technical  ex- 
cellence. They  have  recently  introduced  a 
remarkably  small  grand.  Their  type  of  player- 
piano  is  known  as  the  '  Playerforte. ' 

MILLER,  HORACE  ALDEN  (July  4,  1872, 
Rockford,  111.),  after  studying  in  Cornell  Col- 
lege in  Iowa,  went  to  the  Oberlin  Conservatory, 
gaining  a  Mus.B.  in  1904.  He  then  returned 
to  Cornell  College  to  teach  organ  and  theory, 
continuing  till  now  save  for  a  year  of  study  in 
Munich  and  Berlin.  His  interest  in  Indian 
music  is  shown  by  the  works,  '  Melodic  Views 
of  Indian  Life'  (Simamy),  'From  the  Forest' 
(Ojibway  songs)  ;  'Arapaho  Ghost-Dance,'  a 
Romance  in  A-flat  (Musicians'  Pub.  Co.,  Los 
Angeles)  ;  'In  the  Linden  Cradle'  and  'For 
the  Golden  Harvest'  (Willis) ;  'Indian  Legend' 
and  'Indian  Idyl,'  for  organ  (Novello) ;  and 
four  Indian  Themes,  for  piano,  and  'The  Moon 
Cycle,'  six  songs  for  high  voice  (Breitkopf) .  Un- 
published are  several  songs,  piano-  and  organ- 
pieces  and  the  orchestral  'From  the  Wickiup' 
and  'The  Indian  Flute.'    The  latter  have  been 


played  by  the  Chicago  Symphony  Orchestra  and 
the  Russian  Symphony  Orchestra.     [  R.9  ] 

MILLER,  RUSSELL  KING  (May  10,  1871, 
Philadelphia),  studied  piano  with  Von  Stern- 
berg in  Philadelphia,  organ  with  S.  P.  Warren 
and  composition  with  Klein  in  New  York. 
After  short  engagements  in  different  churches, 
since  1901  he  has  been  organist  at  Temple 
Keneseth  Israel,  and  since  1909  also  music- 
director  at  the  Pennsylvania  School  for  the 
Blind.  He  appeared  in  recital  at  the  Buffalo 
and  St.  Louis  Expositions.  His  organ-works 
(all  J.  Fischer)  include  a  'Scherzo  Sympho- 
nique'  (1895),  Nocturne  and  Epilogue  (1897), 
Festival  March  (1903,  A.  G.  O.  prize),  Con- 
cert-Overture (1909),  Festival  Postlude,  Im- 
promptu and  Cortege  (1904),  Elegy  (1905), 
'Chanson  Pastorale'  (1907)  and  Berceuse  and 
Serenade  (1908),  besides  anthems,  songs  and 
piano-pieces.     [  R.8  ] 

MILLIGAN,  HAROLD  VINCENT  (Oct. 
31,  1888,  Astoria,  Ore.),  from  1908  was  in  New 
York  studying  organ  with  Carl,  theory  and 
composition  with  C.  R.  Gale,  Johnstone  and 
Noble.  He  was  then  organist  for  five  years  at 
the  Rutgers  Presbyterian  Church,  two  years 
at  Plymouth  Church  in  Brooklyn,  and  now  at 
both  the  Fifth  Avenue  Baptist  Church  and  the 
West  End  Synagogue.  He  is  a  fellow  of  the 
A.  G.  O.  and  in  1914-16  was  its  general  secre- 
tary. He  has  thrice  been  across  the  continent 
on  recital-tours.  He  has  written  many  songs, 
organ-pieces,  choral  works,  sacred  and  secular, 
and  two  operettas  (Schirmer,  Schmidt),  be- 
sides incidental  music  to  plays.  He  is  editor 
of  The  First  American  Composer  and  Colonial 
Love-Lyrics  (both  Schmidt) ,  author  of  a  biog- 
raphy of  Stephen  C.  Foster,  1920,  staff-writer 
for  'The  Diapason,'  'The  New  Music  Review' 
and  'The  Woman's  Home  Companion,'  and 
otherwise  active  as  a  writer.     [  R.IO  ] 

MILLS,  CHARLES  HENRY  (Jan.  29, 
1873,  Nottingham,  England),  was  trained  at 
the  Guildhall  School  of  Music  in  London,  took 
lessons  from  Prout,  Niecks  and  Peace  and  in 
1904  won  a  Mus.B.  from  the  University  of 
Edinburgh.  In  1892-93  he  visited  America 
as  a  pianist.  From  1894  he  was  organist  at 
various  places  in  Great  Britain  —  in  1898-1900 
conducting  the  Aberdeen  Operatic  Society, 
in  1900  becoming  city-organist  at  Aberdeen 
and  in  1906-07  being  borough-organist  at  Sal- 
ford.  In  1907-08  he  taught  theory  at  Syra- 
cuse University,  in  1908-14  was  head  of  the 
music-department  at  the  University  of  Illinois, 
and  since  1914  has  held  a  similar  position  at 
the  LTniversity  of  Wisconsin.  He  is  a  fellow 
of  the  R.  C.  O.  and  the  A.  G.  O.,  an  associate 
of  the  R.  C.  M.  and  in  1911  was  made  Mus.D. 
by  McGill  University.  He  has  written  a  Con- 
cert-Overture (Minneapolis  Orchestra),  inci- 
dental music  to  a  Shakespearean  masque  and 


298 


MILLS 


MOLLENHAUER 


to  Aristophanes'  'Clouds'  (both  given  at  Madi- 
son, Wis.),  the  cantatas  with  orchestra  'Ode 
to  St.  Cecilia'  (Schirmer)  and  'The  Wreck  of 
the  Hesperus'  (Birchard),  and  various  other 
vocal  works,  sacred  and  secular.     [  R.8  ] 

MILLS,  SEBASTIAN  BACH  (Mar.  13, 
1838,  Cirencester,  England  :  Dec.  21,  1898, 
Wiesbaden,  Germany).  See  article  in  Vol.  iii. 
210.  For  many  years  he  was  foremost  in  in- 
troducing works  not  previously  heard  in  New 
York  —  Moscheles'  G  minor  Concerto  and 
Chopin's  Fantasia  in  1860,  Chopin's  F  minor 
Concerto  in  1861,  Hiller's  F-sharp  minor  Con- 
certo in   1863,   the  Weber-Liszt  Polonaise  in 

1864,  Mozart's  posthumous  Concerto  in  C  in 

1865,  Liszt's  E-flat  Concerto  in  1867,  Reinecke's 
F-sharp  minor  Concerto  in  1872  (first  time  in 
America),  von  Bronsart's  Concerto  and  Raff's 
Suite,  op.  200,  for  piano  and  orchestra,  in  1877. 
His  own  most  popular  works  were  'Recollec- 
tions of  Home,'  1st  Tarantelle,  'Fairy  Fingers,' 
2nd  Barcarolle  and  '  The  Murmuring  Fountain.' 
[  R.4  1 

MIMBERLEY,  FRED  W.  See  Colleges, 
3  (Buena  Vista  C,  Iowa). 

MINNEAPOLIS  SYMPHONY  ORCHES- 
TRA, THE,  dates  from  1903,  when  the  Phil- 
harmonic Club  (choral)  felt  the  need  of  a  per- 
manent orchestra.  Emil  Obcrhoffer,  the  leader 
of  the  Club,  became  the  conductor  of  the  new 
organization  and  has  remained  its  efficient 
head  ever  since.  The  financial  affairs  have 
been  ably  managed,  stability  being  secured 
by  a  guarantee-fund,  now  of  $75,000  annually, 
pledged  in  five-year  periods.  In  1904  a  beau- 
tiful Auditorium  was  provided  by  the  North- 
western National  Life  Insurance  Co.  At  first 
the  number  of  players  was  about  50,  but  is 
now  usually  80.  The  concertmasters  have 
been  Franz  Danz  (1903-08),  F.  A.  Korb  (1908- 
09),  Richard  Czerwonky  (1909-18)  and  Guy  H. 
Woodard  (from  1918).  Carlo  Fischer,  lead- 
ing 'cellist  in  1906-11,  since  1911  has  been  pro- 
gram-editor. For  three  years  20  concerts 
were  given  annually,  for  the  next  eight  150  and 
since  then  about  175,  making  a  total  of  over 
2300.  In  Minneapolis  the  regular  series  in- 
cludes 40,  with  12  in  St.  Paul ;  the  remainder 
are  extras  or  on  tour.  In  its  home-concerts 
the  Orchestra  has  built  up  a  fine  repertoire. 
Out  of  perhaps  300  important  works  by  75 
composers  from  Haydn  to  Stravinsky  the  fol- 
lowing may  be  mentioned : 

Beethoven,  Triple  Concerto  for  piano,  violin  and 
'cello ;  Brahms,  Double  Concerto  for  violin  and 
'cello;  Borodin,  2nd  Symphony;  Guilmant,  Sym- 
phony for  organ  and  orchestra;  Chausson,  Sym- 
phony and  Symphonic  Poem,  'Viviane';  Ropartz, 
4th  Symphony ;  Glazunov,  6th  Symphony ;  Aulin, 
3rd  Violin  Concerto ;  Kalinnikov,  1st  Symphony ; 
Georg  Schumann,  Overture,  'Liebesfriihling' ;  Mac- 
Cunn,  Overture,  'Land  of  Mountain  and  Flood'; 
Hinton,  Piano  Concerto ;    Rabaud,  2nd  Symphony ; 


Rachmaninov,  'Die  Toteninsel';  Ravel,  Suite, 
'  La  M^re  I'Oye ' ;  Scheinpflug,  Overture  to  a  Shake- 
speare Comedy;  Enesco,  Rumanian  Rhapsodies, 
Nos.  1  and  2.  In  addition,  about  35  American  com- 
posers have  been  represented,  including  the  following 
works :  Avery,  Scherzo,  '  A  Joyous  Prelude ' ;  Mrs. 
Beach,  'Gaelic'  Symphony,  Piano  Concerto  ;  Bonvin, 
'Festival  Procession';  Busch,  'The  Passing  of  King 
Arthur,'  'Minnehaha's  Vision,'  'A  Chippewa  Vision,' 
'Sequentahre,'  etc.;  Carpenter,  Suite,  'Adventures 
in  a  Perambulator ' ;  Chadwick,  Suite  Symphonique, 
'Tarn  O'Shanter,'  Symphonic  Sketches,  'Lochinvar,' 
etc. ;  Cole,  Symphonic  Prelude,  'Cello  Ballade ; 
Converse,  '  Endymion's  Narrative ' ;  Damrosch,  Prel- 
ude to  Act  II  of  'Cyrano';  Foote,  String  Suite 
in  E,  Character  Pieces  after  the  'Rubdiydt' ;  Hadley, 
'The  Culprit  Fay,'  3rd  and  4th  Symphonies,  Over- 
ture, 'In  Bohemia';  Herbert,  Suite  Romantique, 
'Woodland  Fancies,'  Prelude  to  Act  III  of  'Natoma,' 
etc.;  Kelley,  2nd  Symphony,  'Aladdin';  Kolar, 
Suite,  'Americana';  Kroeger,  'Lalla  Rookh';  Mac- 
Dowell,  'Lancelot  and  Elaine,'  1st  and  'Indian' 
Suites,  etc. ;  Oldberg,  Overture,  '  Paolo  and  Fran- 
cesoa';  Saar,  'Gondoliere,'  'Chanson  d' Amour'; 
Smith,  Overture,  'Prince  Hal';  Stock,  Symphonic 
Waltz;  Strube,  Comedy  Overture,  'Puck';  Weidig, 
Symphonic  Suite,  Three  Episodes,  etc. 

First  performances  in  America  or  absolutely  (marked 
*)  include  these:  Alfven,  3rd  Symphony,  'Drapa,' 
Polonaise,  'Festspiel';  Aulin,  Swedish  Dances; 
Bleyle,  'Flagellantenzug' ;  Delius,  'Dance  Rhap- 
sody'; Dohnanyi,  Suite,  op.  19;  Hinton,  2nd 
Symphony;  Oberhoffer,  *Overture  Romantique, 
♦March,  'Americana';  Pauly,  Piano  Concerto;  Pitt, 
Serenade  for  small  orchestra;  Sibelius,  Suite,  'Scenes 
Historiques,'  1st  Violin  Serenade ;  Skilton,  *Two  In- 
dian Dances;  Stenhammar,  'Midvinter';  Strauss, 
Festival  Prelude;   Smith,  Suite,  'Impressions.' 

MIRANDA,  MAX.  See  Colleges,  3  (Be- 
loitC,  Wis.). 

MISCHKA,  JOSEPH  (b.  1846).  See  Regis- 
ter, 5. 

MITCHELL,  LIVINGSTON  HARVEY. 
See  Colleges,  3  (Ouachita  C,  Ark.). 

MITCHELL,  NAHUM  (1769-1853).  See 
Register,  3,  and  Tune-Books,  1810. 

MODERWELL,  HIRAM  KELLY  (b.  1888). 
See  Register,  10. 

MODERN  MUSIC  SOCIETY,  THE,  of 
New  York,  was  formed  in  1913-14  to  give  both 
choral  and  orchestral  works  by  recent  com- 
posers, especially  Americans.  Its  nucleus  was 
the  Lambord  Choral  Society,  founded  in  1912 
by  Benjamin  Lambord. 

MOHR,  HERMANN  (1830-1896).  See 
Register,  7. 

MOLLENHAUER,  EDUARD  (1827-1914). 
See  Register,  4. 

MOLLENHAUER,  EMIL  (Aug.  4,  1855, 
Brooklyn),  the  son  of  Friedrich  Mollenhauer, 
the  violinist,  early  evinced  ability  on  his  father's 
instrument.  At  nine  he  made  his  debut  at 
Niblo's  Garden,  at  fourteen  played  in  the  or- 
chestra at  Booth's  Theatre  and  at  seventeen 
joined  the  Thomas  Orchestra.  Until  1884  he 
was  also  a  member  of  the  New  York  and  Brook- 
lyn Philharmonic  Societies  and  for  a  time  of 
the  Symphony  Society.     He  then  removed  to 


MOLLENHAUER 


MORRIS 


299 


Boston  and  in  1885-88  was  in  the  Boston  Sym- 
pliony  Orchestra,  which  he  left  to  conduct  the 
Germania  (later  the  Boston  Festival)  Orches- 
tra and  also  (till  1903)  the  Municipal  Concerts. 
With  the  Festival  Orchestra  he  not  only  toured 
extensively  with  a  long  list  of  soloists,  vocal  and 
instrumental,  of  the  first  order,  but  also  par- 
ticipated in  numerous  choral  festivals  in  differ- 
ent places.  In  1899  he  succeeded  Lang  as 
conductor  of  the  Handel  and  Haydn  Society, 
which  ho  thoroughly  reorganized.  Since  1900 
he  has  also  led  the  Apollo  Club  and  a  nimiber 
of  choral  societies  besides,  as  in  Brookline, 
Lynn,  Salem  and  Newburyport.  He  con- 
ducted the  Boston  Symphony  Orchestra  at  the 
St.  Louis  and  San  Francisco  Expositions  in 
1904  and  '15.  His  varied  experience,  technical 
skill  and  fine  musicianship  have  given  him 
great  influence.     [  R.5  ] 

MOLLENHAUER,  FRIEDRICH  (1818- 
1885).    See  Register,  4. 

MOLLENHAUER,  HEINRICH  (1825- 
18S9).    See  Register,  4. 

MOLLENHAUER,  LOUIS  (b.  1863).  See 
Register,  7. 

MOLLER,  JOHN  CHRISTOPHER.  See 
Register,  2. 

'  MONA.'  An  opera  in  three  acts  by  Hora- 
tio Parker,  awarded  the  prize  of  $10,000  offered 
in  1909  by  the  Metropolitan  Opera  Company, 
produced  on  Mar.  4,  1912,  and  thrice  repeated. 
The  text  is  by  Brian  Hooker  and  develops  a 
story  in  the  time  of  the  conquest  of  Britain  by 
the  Romans.  See  lirehbiel.  More  Chapters  of 
Opera,  pp.  255-65. 

MONESTEL,  ALEXANDER  (b.  1865). 
See  Register,  7. 

MONTANI,  NICOLA  ALOYSIUS  (b.  1880). 
See  Register,  9. 

MONTEUX,  PIERRE  (Apr.  4,  1875,  Paris, 
France),  was  trained  at  the  Paris  Conserva- 
tory, studying  solfeggio  and  harmony  with 
Lavignac,  counterpoint  and  fugue  with  Len- 
epveu  and  violin  with  Berthelier.  From  1894 
he  conducted  concerts  in  Paris,  founding  a 
series  at  the  Casino  de  Paris  to  bring  out  ex- 
amples of  ultra-modern  French  music.  He 
has  conducted  at  the  Theatre  des  Champs- 
filysees,  the  Chatalet  and  the  Odcon  in  Paris, 
at  Covent  Garden  and  Drury  Lane  in  London, 
and  in  Berlin,  Vienna  and  Budapest.  In  1916 
he  came  to  New  York  as  conductor  of  the  Rus- 
sian Ballet  and  also  led  the  concerts  of  the 
Civic  Orchestral  Society  during  the  summer 
of  1917.  In  1917-19  he  conducted  at  the  Met- 
ropolitan Opera  House.  In  the  fall  of  1918 
he  took  charge  of  the  first  concerts  of  the  Bos- 
ton Symphony  Orchestra,  pending  the  arrival 
of  Rabaud,  and  in  1919  was  elected  to  follow 
him  as  permanent  conductor.  He  has  directed 
first  performances  of  Stravinsky's  '  Le  Rossig- 
nol'  (opera),  'Petrouchka'  and  '  Le  Sacre  du 


Printemps'  (ballets),  Debussy's  '  Jeux'  (ballet), 
Ravel's  'Daphnis  et  Chloe'  (ballet)  and  Roger- 
Ducasse'  'Le  Joli  Jeu  du  Furet'  (orchestral 
scherzo).     [  R.IO  ] 

'MONTEZUMA.'  An  opera  in  three  acta 
by  Frederick  G.  Gleason  (text  and  music),  of 
which  only  extracts  have  been  performed. 

'MONTEZUMA.'  No.  2  of  the  'Grove- 
Plays'  of  the  San  Francisco  Bohemian  Club, 
produced  in  1903.  The  music  is  by  Humphrey 
J.  Stewart  and  the  text  by  Louis  A.  Robertson. 
The  scene  is  laid  in  Mexico  in  1520. 

MONTRESSOR.     See  Register,  3. 

MOOG,  WILSON  TOWNSEND  (b.  1881). 
See  Register,  9. 

MOORE,  HENRY  EATON  (1803-1841). 
See  Tune-Books,  1832. 

MOORE,  HOMER.     See  Register,  7. 

MOORE,  JOHN  WEEKS  (1807-1887). 
See  Register,  4,  and  Tune-Books,  1849. 

MOORE,  MARY,  nee  Carr.     See  Register,  9. 

MOORE,  W.  H.  A.  See,  Colleges  3  (Cum- 
berland U.,  Term.). 

MOORS,  HEZEKIAH.  See  Tune-Books, 
1809. 

MOOS,  JEAN  CARRODI.  See  Colleges, 
3  (Bethany  C,  W.  Va.). 

MORGAN,  GEORGE  WASHBOURNE 
(Apr.  9,  1822,  Gloucester,  England  :  July, 
1892,  Tacoma,  Wash.),  was  an  articled  pupil 
of  Amott  (organist  of  Gloucester  Cathedral) 
and  began  playing  regularly  at  twelve,  first  in 
Gloucester  and  then  in  London,  where  he  also 
appeared  in  concert.  About  1845  he  became 
leader  of  the  Philharmonic  Society  in  Glouces- 
ter, in  which  he  had  sung  as  a  boy,  and  was 
a  competitor  for  the  post  of  organist  at  Worces- 
ter Cathedral.  Coming  to  New  York  in  1853, 
he  was  organist  at  St.  Thomas'  in  1854-55, 
Grace  Church  in  1855-08,  St.  Ann's  (R.  C.) 
in  1808-69,  St.  Stephen's  (R.  C.)  in  1869-70, 
Broolclyn  Tabernacle  (Talmadge's)  in  1870-82 
and  the  Madison  Avenue  Collegiate  (Ref. 
Dutch)  Church  in  1886-88.  He  gave  a  recital 
in  Boston  in  1859  and  was  the  first  player  on 
the  organ  in  Music  Hall  in  1863.  He  also 
played  at  the  Centennial  Exposition  in  Phila- 
delphia in  1876.  His  brilliance  as  a  performer 
made  him  popular,  so  that  he  did  much  to 
arouse  enthusiasm  for  organ-music.  He  wrote 
a  Morning  Service,  anthems  (some  with  or- 
chestra), organ-pieces,  songs,  etc.     [  R.4  ] 

MORGAN,  JOHN  PAUL  (1841-1879). 
See  Register,  5. 

MORGAN,  MAUD  (b.  1864).  See  Regis- 
ter, 6. 

MORGAN,  TALI  ESEN  (b.  1858).  See 
Register,  7. 

MORRIS,  EDMON.  See  Colleges,  2 
(Converse  C,  S.  C). 

MORRIS,  OWEN  (1719-1809).  See  Regis- 
ter, 1. 


300 


MORRISON 


MUCK 


MORRISON,     CHARLES     WALTHALL 

(b.  1856).     See  Register,  7. 

MORSE,  CHARLES  FREDERIC  (b.  1881). 
See  Register,  9. 

MORSE,  CHARLES  HENRY  (Jan.  5, 
1853,  Bradford  Mass.),  graduated  in  1870 
from  the  Haverhill  (Mass.)  High  School  and 
in  1873  from  the  New  England  Conservatory 
in  Boston,  studying  piano  with  J.  C.  D.  Parker, 
Perabo  and  Baermann,  organ  with  Whiting 
and  Paine,  theory  with  Emery  and  conducting 
with  Zerrahn.  He  at  once  began  teaching 
piano  and  organ  in  the  Conservatory,  but  con- 
tinued study  at  Boston  University,  where  in 
1876  he  won  probably  the  first  Mus.B.  given 
in  the  United  States.  Meanwhile  he  was 
organist  at  Tremont  Temple,  the  Union  and 
the  Central  Congregational  Chm^ches.  In 
1875-84  he  was  the  first  music-director  at 
Wellesley  College.  In  1885-91  he  was  founder 
and  director  of  the  Northwestern  Conservatory 
at  Minneapolis,  following  the  lines  of  the  New 
England  Conservatory  and  gaining  immediate 
success,  and  was  also  organist  in  St.  Paul  and 
Minneapolis.  In  1891-99  he  was  organist  at 
Plymouth  Church  in  Brooklyn  and  active  in 
the  Brooklyn  Institute  of  Arts  and  Sciences. 
From  1901  he  was  the  first  professor  of  music 
at  Dartmouth  College,  becoming  emeritus  in 
1918.  He  has  been  a  trustee  of  the  New  Eng- 
land Conservatory,  in  1894-96  was  president 
of  the  New  York  Music  Teachers'  Association, 
in  1896  a  founder  of  the  A.  G.  O.  and  member  of 
its  council,  etc.  He  was  one  of  the  first  to 
play  Guilmant's  works  and  to  produce  choral 
works  of  Gounod  in  the  United  States.  He 
has  edited  The  Contemporary  Organist  (Schir- 
mer),  two  volumes  of  The  Church-Organist  and 
The  Junior  Church-Organist  (White-Smith), 
March- Album  for  Organ  (Schirmer),  Short  a'nd 
Easy  Anthems  (Ditson),  The  Plymouth  Hymnal, 
1893  (with  Lyman  Abbott),  Songs  for  the  Chapel 
(men's  voices).  The  Wellesley  Collection 
(women's  voices)  and  many  separate  vocal  and 
organ-arrangements,  besides  publishing  an- 
thems and  organ-pieces  of  his  own  (Schirmer, 
Schmidt).    (  R.6  ] 

MORSE,  FRANK  EUGENE  (b.  1856). 
See  Register,  6. 

MORSE,  GEORGE  FRANCIS.  See  Reg- 
ister, 7. 

MORSELL,  HERNDON  (b.  1858).  See 
Register,  7. 

MOSENTHAL,  JOSEPH  (Nov.  30,  1834, 
Kassel,  Germany  :  Jan.  6,  1896,  New  York), 
was  trained  by  his  father,  Spohr,  Bott,  Kraus- 
haar  and  others,  and  for  four  years  played 
second  violin  under  Spohr.  In  1853  he  mi- 
grated to  New  York,  where  in  1855-68  he  was 
a  member  of  the  Mason-Thomas  Quintet  and 
in  1860-87  organist  of  Calvary  Church,  besides 
being  forty  years  among  the  first  violins  of  the 


Philharmonic  Society.  From  1867  he  was  also 
leader  of  the  Mendelssohn  Glee  Club,  his  life 
closing  nearly  thirty  years  later  at  a  rehearsal. 
He  wrote  anthems,  sacred  songs,  many  fine 
part-songs  for  men's  voices,  such  as  'Thana- 
topsis,'  'Blest  Pair  of  Sirens,'  'The  Music 
of  the  Sea,'  and  numerous  secular  songs. 
[  R.4  ] 

MOSS,  THOMAS.  See  Colleges,  3  (Whit- 
worth  C,  Wash.). 

t  MOTTL,  FELIX  (Aug.  24,  1856,  Vienna, 
Austria  :  July  2,  1911,  Munich,  Germany). 
See  article  in  Vol.  iii.  277-8.  While  at  Karls- 
ruhe he  gave  the  first  complete  rendering  of 
Berlioz'  'LesTroyens'  (1890),  and  the  dates 
of  the  production  of  'Fiirst  und  Sanger,'  the 
string-quartet  in  F-sharp  minor  and  'Pan  im 
Busch'  are  1893,  '98  and  1900  respectively. 
While  in  New  York  in  1903-04  he  conducted 
various  Wagnerian  operas  and  an  orchestral 
concert,  but  did  not  actually  conduct  'Parsi- 
fal' (though  he  directed  rehearsals)  because 
of  the  opposition  of  the  Wagner  family.  Be- 
sides his  extraordinary  power  as  conductor  he 
was  extremely  able  as  editor.  His  second 
revised  version  of  Cornelius'  'Der  Barbier  von 
Bagdad'  has  become  standard.  He  edited 
all  the  early  overtures  of  Wagner  and  published 
a  complete  edition  of  his  stage-works  (1914). 
He  was  twice  married,  both  times  to  opera- 
singers. 

MOUNTAIN,  CHARLES  WESLEY.  See 
Colleges,  3  (Parsons  C,  Iowa). 

MOZART  CLUB,  THE,  of  Pittsburgh,  was 
organized  in  1878  and  incorporated  in  1886. 
Its  only  conductor  for  forty  years  was  James 
P.  McColIum.  Gradually  expanding  from 
a  small  circle  of  singers  to  a  large  chorus,  and 
from  1886  giving  programs  only  with  orchestra 
or  a  cappella,  the  Club  covered  a  large  reper- 
toire, including  the  larger  sacred  and  secular 
works  and  a  variety  of  lesser  cantatas,  etc., 
the  orchestras  assisting  including  those  of 
Pittsburgh,  Boston,  Chicago  and  St.  Paul. 
Almost  all  the  leading  soloists  of  the  country 
appeared  with  it.  The  Club  also  pursued 
the  policy  of  developing  soloists  within  its 
own  ranks  or  from  Pittsburgh.  Its  work  was 
greatly  aided  by  the  financial  support  of  many 
public-spirited  citizens. 

MUCK,  KARL  (Oct.  22,  1859,  Darmstadt, 
Germany).  See  article  in  Vol.  iii.  314-5.  His 
first  term  as  conductor  of  the  Boston  Sym- 
phony Orchestra  in  1906-08  was  on  leave  of 
absence  from  Berlin,  and  on  his  return  thither 
he  was  made  General-Musikdirector.  In  1912 
he  resigned  to  conduct  the  Boston  Orchestra 
permanently,  made  a  profound  impression  for 
several  years,  but  in  March,  1918,  was  arrested 
as  an  enemy  alien,  interned  for  more  than  a 
year  and  excluded  from  the  country  in  August, 
1919.     [  R.9  ] 


MUENSCHER 


MUSIC  SCHOOL  SETTLEMENTS    301 


MUENSCHER,  JOSEPH.  See  Tune- 
Books,  1839. 

MUKLE,  MAY  HENRIETTA  (May  14, 
1880,  London,  England),  made  her  first  appear- 
ance as  'cellist  at  nine  and  at  seventeen  gave  a 
recital  in  London.  She  studied  there  with 
Hambleton  and  later  with  Pezze  at  the  Royal 
Academy  of  Music.  As  soloist  or  in  chamber- 
music  groups  she  has  toured  Europe,  America 
(several  times),  Australia  (1903),  South  Africa 
(1905),  Canada  (twice),  and  in  1918  played 
in  the  first  chamber-music  recitals  in  Honolulu. 
In  1908  she  traveled  with  the  Maud  Powell  Trio, 
in  which  her  sister,  Anne  Mukle,  was  pianist. 
She  has  also  appeared  often  with  symphony 
orchestras  in  Europe  and  America.  'The 
Hamadryad'  and  'The  Light  Wind,'  two  fan- 
cies for  'cello  and  piano,  are  her  only  published 
works,  but  she  has  songs  and  small  pieces  for 
different  instruments  in  manuscript.     [  R.9  ] 

MULLER,  CARL  CHRISTIAN  (July  3, 
1831,  Saxe-Meiningen,  Germany  :  June  4, 
1914,  New  York),  having  been  taught  piano 
by  F.  W.  and  Heinrich  Pfeifer,  harmony  by 
ZoUner  and  organ  by  Butzert,  came  to  New 
York  in  1854.  For  a  time  he  worked  in  a  piano- 
factory,  then  entered  the  orchestra  at  Barnum's 
Museum  and  presently  became  its  leader.  In 
1879-95  he  taught  harmony  at  the  New  York 
College  of  Music,  and  later  was  associated 
with  the  Grand  Conservatory,  the  New  York 
Conservatory  and  other  schools.  He  published 
three  organ-sonatas,  a  string-quartet,  a  sonata 
for  violin  and  piano,  choruses,  and  many  pieces 
for  piano  and  organ,  and  left  also  a  symphony, 
an  orchestral  suite,  an  overture,  an  '  Idyl '  for 
orchestra,  a  setting  of  Schiller's  '  Die  ICraniche 
des  Ibicus'  for  soli,  chorus  and  orchestra,  and 
a  'Romanza'  for  horn,  harp  and  orchestra- 
He  translated  Sechter's  Grundsatze  der  musik- 
alischen  Composition  as  Fundamental  Harmony, 
1871  (9  later  eds.),  and  added  tables  for  pri- 
mary instruction,  modulation,  chord-succession 
and  harmonization.     [  R.4  ] 

MULLER,  FREDERICK  WILLIAM  (b. 
1863).     See  Register,  8. 

MURATORE,  LUCIEN  (1878,  Marseilles, 
France),  graduated  in  1897  with  a  first  prize 
from  the  Marseilles  Conservatory,  having 
studied  bassoon  as  well  as  singing.  He  first 
appeared  as  an  actor  with  Rejane  and  also 
Bernhardt.  After  three  years  in  the  army  he 
prepared  for  lyric  opera  at  the  Paris  Conserva- 
tory and  made  his  debut  at  the  Opera-Comique 
in  1902,  creating  the  tenor-role  in  Hahn's  'La 
Carmelite'  and  also  in  1903  that  in  Missa's 
'La  Muguette.'  In  1905  he  appeared  at  the 
Grand-0p6ra  as  Rinaldo  in  'Armide.'  At  the 
Op^ra  he  created  roles  in  Massenet's  'Ariane' 
(1906),  'Bacchus'  (1909)  and  'Roma'  (1912), 
Fevrier's  '  Monna  Vanna '  (1909)  and  Hiie's  '  Le 
Miracle'    (1910) ;   also  at   the   first  giving  in 


that  place  of  Strauss'  'Salome'  (1910),  Gior- 
dano's 'Siberia'  (1911)  and  Saint-Saens'  'D6- 
janire'  (1911).  In  1913  he  came  to  America 
to  join  the  Chicago  Opera  Company,  with 
which  he  is  still  connected,  though  he  returned 
to  France  for  military  duty  in  1915.  He  mar- 
ried the  soprano  Lina  Cavalieri  in  1913.  Dur- 
ing the  summer  of  1917  he  was  engaged  at  the 
Teatro  Colon  in  Buenos  Aires.     [  R.IO  ] 

'MUSIC  A  monthly  magazine  founded 
by  W.  S.  B.  Mathews  in  1891  at  Chicago.  He 
continued  editor  till  December,  1902,  after 
which  the  magazine  was  merged  in  'The  Phil- 
harmonic' Although  put  together  somewhat 
hastily  and  varying  considerably  in  quality, 
this  was  the  only  journal  devoted  wholly  or 
mainly  to  contributed  articles  untU  the  appear- 
ance of  'The  Musical  Quarterly'  in  1915. 
Many  of  its  essays  and  studies  were  decidedly 
able.  And  it  served  to  call  attention  to  the 
dignity  of  the  literary  and  scholarly  treatment 
of  musical  subjects.     See  note  in  Vol.  iii.  688. 

MUSIC  HALL.  A  building  erected  in  Bos- 
ton in  1852  to  provide  a  suitable  place  for  large 
choral  and  orchestral  concerts.  With  a  seat- 
ing capacity  of  about  3000  and  its  central  loca- 
tion (off  Tremont  and  Winter  Streets),  it  im- 
mediately became  a  notable  headquarters  for 
good  music.  In  1863,  after  vexatious  delays 
and  unexpected  expenses,  a  concert-organ, 
made  by  Walcker  of  Ludwigsburg,  Wiirtem- 
berg,  was  introduced,  being  the  first  really 
large  instriunent  in  the  United  States.  The 
organ  was  dedicated  on  Nov.  2,  1863,  the  per- 
formers being  Lang,  G.  W.  Morgan,  Paine, 
Thayer,  Tuckerman  and  Willcox  —  an  extra- 
ordinary list  for  the  time.  For  twenty  years 
recitals  were  steadily  given  both  by  permanent 
organists  and  by  visitors.  In  1884  the  organ 
was  bought  for  the  New  England  Conservatory, 
but  proved  unwieldy  there  and  was  finally 
broken  up  in  1897.  Its  advent  was  of  great 
importance  for  American  organ-building, 
since  its  tone-qualities  were  excellent  and  varied, 
though  its  action  was  sluggish  and  its  construc- 
tion in  many  respects  clumsy.  For  a  cut  of 
the  organ,  see  Elson,  History  of  American 
Music,  p.  262. 

'MUSIC  NEWS.'  A  weekly  periodical 
founded  in  1908  by  Charles  E.  Watt  in  Chicago 
and  since  edited  and  published  by  him. 

MUSIC  SCHOOL  SETTLEMENTS  are 
music-schools  planted  in  the  poorer  neighbor- 
hoods of  many  cities  for  the  purpose  of  pro- 
viding opportunity  for  artistic  culture,  es- 
pecially among  the  foreign  population.  They 
have  been  notably  successful  in  New  York, 
Boston,  Philadelphia  and  several  cities  in  the 
West,  becoming  centers  of  culture  and  often 
developing  singers  and  players  of  ability.  The 
New  York  School  was  started  in  1894  and  owes 
its  conspicuous  expansion  mainly  to  its  latot 


302    MUSIC  SUPERVISORS'  CONF. 


M.  T.  N.  A. 


directors  —  Thomas  Tapper  in  1907-09,  David 
Marines  in  1910-15  and  Arthur  Farwell  since 
1915.  The  number  of  pupils  is  about  1000 
annually,  and  there  are  about  80  instructors. 
A  notable  feature  ia  the  maintenance  of  four 
orchestras,  aggregating  about  200  players. 
Besides  owning  many  instruments,  this  school 
has  an  extensive  library. 

MUSIC  SUPERVISORS'  NATIONAL 
CONFERENCE,  THE,  was  organized  in  1907 
to  promote  discussion  and  cooperation  among 
those  engaged  in  progressive  musical  work  in 
public  schools,  especially  supervisors.  Its 
growth  was  rapid  and  it  has  become  one  of  the 
notable  influences  in  raising  the  standard  of 
equipment  among  public-school  teachers  of 
music,  in  securing  proper  recognition  for  their 
work  in  general,  in  defining  methods  of  credit 
for  music-study  both  within  and  without  the 
school-curriculum,  in  improving  the  connection 
between  school  and  college  work  in  music,  in 
advancing  the  study  of  instruments  and  the 
formation  of  orchestras  as  well  as  singing  and 
in  promoting  interest  in  community-music. 
The  present  number  of  members  is  about  1500. 
The  annual  meeting  is  held  in  the  spring,  and 
the  proceedings  are  published.  The  president 
for  1920  is  HoUis  E.  Dann,  of  Cornell  Univer- 
sity, and  the  secretary,  Elizabeth  Pratt,  St. 
Louis,  Mo. 

MUSIC  TEACHERS'  NATIONAL  ASSO- 
CIATION, THE,  was  organized  in  1876  at 
Delaware,  O.,  by  Theodore  Presser  and  a  small 
circle  of  earnest  teachers  in  Ohio  and  neighbor- 
ing states.  With  rare  exceptions  it  has  held  an- 
nual meetings,  with  three  days'  sessions,  that 
of  1919  being  counted  the  forty-first.'  Its  origi- 
nal purpose  was  '  mutual  improvement  by  inter- 
change of  ideas,  to  broaden  the  culture  of  music, 
and  to  cultivate  fraternal  feeling.'  At  present 
this  is  defined  as  '  the  advancement  of  musical 
knowledge  and  education.'  The  founders, 
most  of  whom  were  connected  with  'Normal 
Institutes'  (teachers'  summer-schools),  had 
specially  in  mind  the  needs  of  scattered  private 
teachers,  and  emphasized  social  contact,  discus- 
sion of  practical  problems  and  the  elevation  of 
popular  conceptions  regarding  musical  worlc 
The  size  of  the  Association  and  its  geographical 
range  have  varied  greatly.  Altogether,  its  mem- 
bership has  probably  included  over  10,000  per- 

»  Delaware,  O.,  1876;  Chautauqua,  N.  Y.,  1878; 
Cincinnati,  O.,  1879,  1899,  1913;  Buffalo,  N.  Y, 
1880,  1915;  Albany,  N.  Y.,  1881;  Chicago,  111., 
1882, '1888  (1893),  1920;  Providence,  R.  I.,  1883; 
Cleveland,  O.,  1884,  1892;  New  York  City,  1885, 
1897,  1898,  1905,  1907,  1916;  Boston,  Mass.,  1886, 
1910;  Indianapolis,  Ind.,  1887;  Philadelphia,  Pa., 
1889,1919;  Detroit,  Mich.,  1890  ;  Saratoga  Springs, 
N.  Y.,  1894;  St.  Louis,  Mo.,  1895,  1904,  1918;  Den- 
ver, Colo.,  1896;  Des  Moines,  la.,  1900;  Put-in-Bay, 
O.,  1901,  1902;  Asheville,  N.  C,  1903 ;  Oberlin,  O., 
1906;  Washington,  D.  C,  1908;  Evanston,  111., 
1909  ;  Ann  Arbor,  Mich.,  1911 ;  Poughkeepsie,  N.  Y., 
1912;  Pittsburgh,  Pa.,  1914;  New  Orleans,  La.,  1917. 


song,  the  average  per  year  being  now  about  400. 
It  has  regularly  aimed  to  publish  each  year  an 
Annual  Report  in  some  form.  These  volumes, 
though  .varying  much  in  character,  are  invalu- 
able records  of  the  progress  of  ideas,  i  The  presi- 
dents have  been  Eben  Tourjee  (1876),  James  A. 
Butterfield  (1878),  Rudolf  de  Roode  (1879), 
FenelonB.  Rice  (1880-81),  Arthur  Mees  (1882), 
Edward  M.  Bowman  (1883-84,  1893-94,  1905), 
Smith  N.  Penfield  (1885),  Albert  A.  Stanley 
(1880),  CalLKa  Lavallee  (1887),  Max  Leckner 
(1888),  Wilbur  F.  Heath  (1889),  Albert  R. 
Parsons  (1890),  Jacob  H.  Hahn  (1891),  N.  Coe 
Stewart  (1895),  Ernest  R.  Kroeger  (1896), 
Herbert  W.  Greene  (1897-98),  Arnold  J.  Gant- 
voort  (1899-1900),  Arthur  L.  Manchester 
(1901-02),  Rossetter  G.  Cole  (1903,  1909-10), 
Waldo  S.  Pratt  (1906-08),  Peter  C.  Lutkin 
(1911,  1920),  George  C.  Gow  (1912),  Charles 
H.  Farnsworth  (1913-14),  J.  Lawrence  Erb 
(1915-17),  Charles  N.  Boyd  (1918-19).  Of 
the  many  secretaries,  H.  S.  Perkins  was  longest 
in  office  (1888-98),  and  notably  efficient.  Be- 
sides other  general  officers,  for  long  periods 
there  have  been  extensive  lists  of  State  vice- 
presidents.  The  Association  was  incorporated 
in  1887  under  the  laws  of  Indiana.  Its  con- 
stitution has  been  remodeled  at  intervals,  the 
present  form  being  that  adopted  in  1906. 

The  emphasis  of  the  Association's  discussions 
and  effort  has  always  been  upon  the  problems 
and  details  of  practical  music-teaching,  in- 
cluding raising  the  level  of  teachers  and  sug- 
gesting improved  methods  of  teaching.  Much 
attention  has  been  given  to  questions  about 
music  in  the  public  schools,  in  colleges  and 
universities,  and  in  community  welfare.  Every 
aspect  of  genuine  musicianship  in  its  practical 
applications  has  been  somewhat  considered. 
For  many  years,  also,  special  effort  was  made  to 
improve  the  recognition  of  American  com- 
position, including  many  recitals  of  American 
works  and  even  the  offering  of  prizes  for  such 
works.  Through  permanent  committees  on 
various  subjects  considerable  general  influence 
has  been  exerted. 

The  Association  early  advocated  interna- 
tional copyright  for  music,  and  also  the  adop- 
tion of  'international'  pitch.  It  fostered  the 
formation  of  a  large  number  of  State  Associa- 
tions, and  has  been  cordial  in  relation  to  many 
other  associations,  even  when  they  tended  to 
deplete  its  own  ranks.     In  1883  it  was  directly 

1  No  Reports  apparently  in  1877,  1879,  1891,  1893 
(see  1894),  1898,  1905  (see  1906).  From  1900  to  1905 
the  Association  issued  a  periodical.  The  Messenger 
(quarterly,  then  bimonthly),  ably  edited  by  Arthur 
L.  Manchester,  which  contained  much  more  than 
the  records  of  meetings.  Since  1906  the  Proceedings, 
under  the  title  of  Studies  in  Musical  Education, 
History  and  ^Esthetics,  have  been  issued  in  handsome 
bound  form  (index  to  first  ten  volumes  in  1915). 
It  is  unfortunate  that  complete  files  of  the  publica- 
tions before  1900  are  extremely  rare. 


MUSICAL  ALLIANCE  OF  AMERICA 


'MUSICAL  QUARTERLY'      303 


concerned  in  the  setting  up  of  the  American 
College  of  Musicians  —  the]f  orerunner  of  several 
later  efforts  at  'standardization'  — which,  in 
spite  of  an  excellent  purpose  and  plan,  did  not 
have  permanence.  Various  other  enterprises 
might  be  named  which  expressed  the  practical 
energy  that  has  usually  characterized  the  Asso- 
ciation's policy.! 

MUSICAL  ALLIANCE  OF  AMERICA, 
THE,  was  started  in  1917  by  John  C.  Freund 
of  New  York.  Its  special  purposes  are  to 
advance  the  recognition  of  music  as  vital  to 
national,  civic  and  domestic  life,  to  extend  the 
study  of  music  in  the  public  schools,  to  magnify 
the  importance  of  music  by  American  com- 
posers and  especially  to  urge  the  establishment 
of  a  National  Conservatory.  The  movement 
has  secured  the  interest  of  a  large  number  of 
musicians  of  every  class. 

'  MUSICAL  AMERICA, '  of  New  York.  A 
weekly  periodical  established  by  John  C. 
Freund  in  1898  and  since  edited  by  him.  After 
a  break  in  publication,  since  1905  it  has  been 
conducted  on  an  enlarged  scale  as  a  record  of 
manifold  professional  activities. 

MUSICAL  ART  SOCIETY,  THE,  of  New 
York.  See  article  in  Vol.  iii.  335.  The  strik- 
ing record  of  achievement  of  this  society  con- 
tinues without  break  under  the  enterprising 
leadership  of  Frank  Damrosch. 

MUSICAL  ASSOCIATION  OF  SAN 
FRANCISCO,  THE.  See  San  Francisco 
Symphony  Orchestra. 

'MUSICAL  COURIER,  THE,'  of  New 
York.     See  note  in  Vol.  iii.  689. 

MUSICAL  FUND  HALL.  A  music-haU 
erected  in  1824  for  the  Musical  Fund  Society 
of  Philadelphia  (see  below)  and  used  for  its 
concerts  and  many  others  for  more  than  thirty 
years.  Its  original  plan  was  made  by  William 
Strickland  and  acoustically  it  was  very  suc- 
cessful. It  was  also  so  arranged  as  to  be  self- 
supporting  from  the  rental  of  offices  and 
studios.  In  1847  it  was  elongated  and  re- 
arranged, so  as  to  accommodate  1500.  See  cut 
and  notes  in  Madeira,  Annals  of  Music  in 
Philadelphia. 

MUSICAL  FUND  SOCIETY,  THE,  of 
Boston,  was  formed  in  1847  by  Thomas  Comer 
on  the  lines  of  the  Philadelphia  Society,  but 
only  for  orchestral  concerts.  It  never  reached 
a  high  plane  of  excellence  in  programs  or  per- 
formance, though  improved  in  later  years 
under  G.  J.  Webb  as  conductor,  and  was  dis- 
continued in  1855. 

MUSICAL  FUND  SOCIETY,  THE,  of 
New  York,  was,  like  the  Boston  Society,  in- 

'  The  detailed  history  of  the  Association  is  to  be 
followed  in  its  annual  Reports  or  Proceedings.  In 
1893  H.  S.  Perkins  issued  a  Historical  Handbook, 
which  is  at  least  singular  in  style,  and  similar  retro- 
epects  are  found  in  the  Reports  for  1888  and  1893 
and  in  the  Proceedings  for  1908,  1909,  1911  ^nd  1914. 


tended  to  provide  orchestral  concerts.  It  was 
formed  about  1828  and  continued  till  after 
1840,  forming  a  bridge  between  the  old  and 
the  new  Philharmonic  Societies. 

MUSICAL  FUND  SOCIETY,  THE,  of 
Philadelphia,  was  founded  in  1820  by  a  group 
of  professional  and  amateur  musicians  who 
had  met  informally  for  several  years  to  prac- 
tice chamber-music.  Leading  spirits  in  the 
enterprise  were  Taylor,  Carr,  Hupfeld,  Gilles, 
Cross  and  Schetky.  The  name  arose  from  the 
fact  that  one  of  the  objects  was  to  establish 
a  fund  for  the  relief  of  needy  musicians.  The 
other  was  to  give  concerts  of  a  high  class,  choral 
and  orchestral.  The  first  concert  was  given 
on  Apr.  24,  1821.  In  1824  Musical  Fund  Hall 
was  built  (see  above).  In  1825  an  Academy  of 
Fine  Arts  was  projected,  somewhat  in  connec- 
tion with  the  University  of  Pennsylvania,  but 
this  educational  effort  ceased  in  1832.  The 
Society  continued  for  almost  forty  years,  serv- 
ing as  a  center  for  the  best  musical  interests  of 
the  city.  In  1858  it  was  given  up.  Besides 
a  goodly  list  of  oratorios,  symphonies  and  over- 
tures, it  introduced  many  eminent  soloists, 
either  in  its  regular  concerts  or  under  its  patron- 
age, such  as  Malibran,  Ole  Bull,  Vieuxtemps, 
Herz,  Jermy  Lind  and  Sontag.  See  Madeira, 
Annals  of  Music  in  Philadelphia  and  History 
of  the  Musical  Fund  Society,  1896  (edited  by 
P.  H.  Goepp).  On  May  4,  1920,  a  musical 
masque  representing  a  'Jenny  Lind  Concert 
in  1850'  was  given  to  commemorate  the  cen- 
tenary of  the  Society. 

MUSICAL  GLASSES.    See  Harmonica. 

MUSICAL  INSTRUMENTS,  COLLEC- 
TIONS OF.  See  article  in  Vol.  iii.  336-8, 
and  articles  in  this  volume  on  the  Brown  Col- 
lection in  New  York  and  the  Stearns  Col- 
lection in  Ann  Arbor. 

'MUSICAL  LEADER,  THE.'  See  note 
in  Vol.  iii.  689. 

'  MUSICAL  MONITOR,  THE.'  A  monthly 
periodical  issued  since  1912  as  the  official  organ 
of  the  National  Federation  of  Musical  Clubs. 
The  editor  is  Mrs.  David  Allen  Campbell. 

'MUSICAL  OBSERVER,  THE.'  A 
monthly  periodical  published  since  1904  by 
Carl  Fischer,  New  York.  Its  editor  from  the 
beginning  has  been  Gustav  Saenger. 

'MUSICAL  QUARTERLY,  THE,'  issued 
since  1915  by  G.  Schirmer,  New  York  City, 
was  the  fruit  of  a  long-standing  desire  on  the 
part  of  Rudolph  E.  Schirmer  to  establish  a 
musical  periodical  in  English  of  the  highest 
quality  and  of  cosmopolitan  scope.  Its  notable 
success  from  the  start  was  insured  by  securing 
O.  G.  Sonneck  (then  of  the  Library  of  Con- 
gress) as  editor.  His  energy,  knowledge,  tact 
and  skiU,  with  the  disinterested  liberality  of 
the  publishers,  have  combined  to  make  the 
magazine  uniquely  significant.     The  dominant 


304      'MUSICAL  QUARTERLY' 


MUSICAL  SOCIETY 


purpose  has  been  to  stimulate  the  literary  treat- 
ment of  musical  topics,  historical,  critical  and 
practical.  The  original  plan  was  to  draw  from 
foreign  writers  as  freely  as  from  American. 
The  outbreak  of  the  World  War  just  before 
issues  began  naturally  interfered  with  this 
somewhat,  although  the  150  articles  in  the 
first  four  volxmies  were  about  equally  divided 
between  Europe  and  America.  All  articles 
are  in  English,  and  some  are  accompanied  by 
excellent  illustrations. 

The  English  contributors  have  been  (to  1919) 
Herbert  Antcliffe  (3),  Rutland  Bough  ton  (2),  Ananda 
Coomaraswamy,  Frederick  Corder  (4),  A.  Redgrave 
Cripps,  Edward  J.  Dent  (3),  Edward  R.  Dibdin, 
Edwin  Evans,  W.  H.  Grattan  Flood  (2),  J.  A.  Fuller- 
Maitland  (4),  Reginald  Gatty  (2),  Percy  Grainger, 
W.  H.  Hadow,  Clement  A.  Harris  (2),  Ernest  Hart, 
Arthur  Hinton,  A.  Eagleficld  Hull,  Frank  Kidson 
(3),  W.  J.  Lawrence  (4),  M.  Montagu-Nathan,  John 
Palmer,  D.  C.  Parker  (4),  C.  Hubert  H.  Parry,  John 
F.  Runciman  (2),  Percy  A.  Scholes,  Cyril  Scott  (3), 
Edward  Speyer  (2),  W.  Barclay  Squire  (4),  C.  Villiers 
Stanford  (2),  R.  A.  Streatfeild,  Francis  Toye  (2), 
C.  Stanley  Wise.  The  French  and  Italians  include 
Michel  Brenet,  R.  D.  Chennevi^re,  Henri  de  Curzon 
(2),  Guido  A.  Fano,  Am6d6e  GastouS,  Gabriel 
Grovlez,  Jean  Hurfi,  G.  Jean-Aubry  (2),  L.  de  La 
Laurencie,  J.  G.  Prod'homme  (7),  Charles  Quef, 
Camille  Saint-Saens,  Julien  Tiersot  (3),  Fausto 
Torrefranca.  The  Germans,  Austnans  and  others 
are  Oscar  Bie,  Elizabeth  Foerster-Nietzsche,  Viktor 
von  Herzfeld,  Edgar  Istel  (3),  Hans  Kleemann, 
Hugo  Leichtentritt  (2),  Wilhelm  Peterson-Berger, 
Egon  Wellesz. 

The  articles  by  Americans  are  as  follows :  George 
W.  Andrews,  'Music  as  an  Expression  of  Religious 
Feeling' ;  Winton  J.  Baltzell,  'The  American  College 
Man  in  Music';  Phillips  Barry,  'Greek  Music'; 
Ludwig  Bonvin,  'On  Syrian  Liturgical  Chant'; 
Ernest  Bruncken,  '  The  Philosophy  of  Copyright ' ; 
Charles  L.  Buchanan,  'Ornstein  and  Modern  Music,' 
'The  Unvanquishable  Tchaikovsky';  J.  N.  Burk, 
'The  Fetish  of  Virtuosity,'  'The  Democratic  Ideal 
in  Music';  Natalie  C.  Burlin,  'The  Classic  Dance  of 
Japan,'  'Black  Singers  and  Players,'  'Negro  Music 
at  Birth';  Charles  W.  Cadman,  'The  Idealization 
of  Indian  Music';  Sheldon  Cheney,  'The  Book- 
plates of  Musicians  and  Music-Lovers';  Philip  G. 
Clapp,  'Sebastian  Bach,  Modernist';  D.  A.  Clip- 
pinger,  'Scientific  Voice-Training';  T.  P.  Currier, 
'Edward  MacDowell  as  I  Knew  Him' ;  J.  C.  Deagan, 
'  A-440  Pitch  Adopted';  Frances  Densmore,  'The 
Study  of  Indian  Music' ;  Olin  Downes,  'An  American 
Composer'  (Henry  F.  Gilbert)  ;  Arthur  Elson, 
'Literary  Errors  about  Music,'  'Sound  and  its  Uses' ; 
Louis  C.  Elson,  'Acoustics';  Carl  Engel,  'De  Gusti- 
bus,'  'Music  we  shall  Never  Hear,'  'The  Miraculous 
Appeal  of  Mediocrity';  J.  Lawrence  Erb,  'Music 
in  the  American  University,'  'Music  in  the  Education 
of  the  Common  Man';  Charles  H.  Farnsworth, 
'The  Judgment  of  Paris';  Harold  Flammer,  'Ad- 
vertising as  a  Fine  Art';  Harvey  B.  Gaul,  'Bonnet- 
Bossi-Karg-Elert';  Sophie  P.  Gibling,  'Problems  of 
Musical  Criticism';  'Types  of  Musical  Listening'; 
Henry  F.  Gilbert,  'The  American  Composer,'  'The 
Survival  of  Music,'  'Folk-Music  in  Art  Music,' 
'  Originality' ;  Lawrence  Gilman,  'Taste  in  Music' ; 
Philip  Gordon,  'Franz  Grillparzer' ;  George  C.  Gow, 
'Rhythm,  the  Life  of  Music' ;  John  C.  Griggs,  'The 
Influence  of  Comedy  upon  Operatic  Forms '  ;  Eugene 
Gruenberg,  'Stage-Fright';    Henry  J.  Harris,  'The 


Occupation  of  Musician  in  the  United  States' ;  Arthur 
Hartmann,  'The  Czimbalom';  W.  J.  Henderson, 
'The  Function  of  Musical  Criticism,'  'A  Note  on 
Floridity ' ;  H.  T.  Henry,  '  Music  Reform  in  the 
Catholic  Church,'  'Choir-Boys  in  Catholic  Churches,' 
'  Wanted,  a  Historico-Musical  Clearing-House' ; 
Edward  B.  Hill,  'Vincent  d'Indy';  Edwin  Hughes, 
'Musical  Memory  in  Piano  Playing,'  'Joseffy's 
Contribution  to  Piano  Technic,'  'Liszt  as  a  Lieder 
Composer';  James  Huneker,  'The  Classic  Chopin'; 
Lewis  M.  Isaacs,  'A  Friend  of  Dr.  Johnson' ;  Edward 
Kilenyi,  'The  Theory  of  Hungarian  Music';  Henry 
E.  Krehbiel,  'Alexander  Thayer  and  his  Life  of  Bee- 
thoven'; Ernst  C.  Krohn,  'The  Bibliography  of 
Music';  Frank  Lester,  'Kluckhorn's  Chord'; 
Arthur  W.  Locke,  '  Note  on  Hoffmann's  Kreisleriana ' ; 
Orlando  A.  Mansfield,  'Anomalies  in  Orchestral 
Accompaniments  to  Church  Music,'  '  Characteristics 
and  Peculiarities  of  Mendelssohn's  Organ  Sonatas,' 
'W.  T.  Best,'  'The  Minuet  in  Handel's  Messiah,' 
'Musical  Discrepancies';  Frederick  H.  Martens, 
'The  Attitude  of  the  Dancer  toward  Music,'  'The 
Modern  Russian  Pianoforte  Sonata';  Daniel  G. 
Mason,  'A  Study  of  Strauss,'  'Edward  J.  de  Coppet,' 
'A  Study  of  Elgar,'  'Folk-Song  and  American-Music' ; 
W.  S.  B.  Mathews,  'Strength,  Beauty  and  Satis- 
faction in  Music';  Brander  Matthews,  'The  Con- 
vention of  the  Music-Drama';  Josephine  McGill, 
'Following  Music  in  a  Mountain  Land,'  'Old  Ballad 
Burthens';  E.  W.  Morphy,  'Violin  Teaching  and 
the  Organization  of  Civic  Orchestras';  Arthur 
Nevin,  'Two  Summers  with  the  Blackfeet  Indians'; 
N.  Lindsay  Norden,  'The  Boy-Choir  Fad,'  'A  Plea 
for  Pure  Church  Music,'  'The  Russian  Liturgy  and 
its  Music';  Clara  T.  Nichols,  'Music  in  our  Public 
Schools';  Katherine  S.  Oliver,  'On  Friendship'; 
Waldo  S.  Pratt,  'On  Behalf  of  Musicology';  William 
G.  Rice,  'Tower  Music  of  Belgium  and  Holland'; 
Francis  Rogers,  'America's  First  Grand  Opera 
Season,'  'Memories  of  Ethelbert  Nevin,'  'The  Male 
Soprano';  James  F.  Rogers,  'A  Song  of  Rags,' 
'Music  as  Medicine';  Frederick  W.  Root,  'Imagina- 
tion and  Fact  in  Voice  Culture';  Cornelius  Riibner, 
'Niels  W.  Gade';  Algernon  St.  John-Brenon,  'Giu- 
seppe Verdi';  Herbert  Sanders,  'Counterpoint  Rev- 
olutionized'; E.  Sapir,  'Representative  Music'; 
Carl  E.  Seashore,  'The  Measurement  of  Musical 
Talent,'  'The  Sense  of  Rhythm  as  a  Musical  Talent' ; 
Herbert  F.  Small,  'On  Opera';  C.  Alphonso  Smith, 
'Ballads  Surviving  in  the  United  States';  O.  G. 
Sonneck,  'Liszt's  Huldigungs  Marsch  and  Weimar's 
Volkslied,'  'Guillaume  Lekeu,'  'Rudolph  E. 
Schirmer';  Sigmund  Spaeth,  'Translating  to  Music'; 
Walter  R.  Spalding,  'The  War  in  its  Relation  to  Amer- 
ican Music';  Constantin  von  Sternberg,  'Singing  or 
Music,'  'On  Plagiarism';  G.Edward  Stubbs,  'Secula- 
rization of  Sacred  Music,'  'Why  we  have  IMale  Choirs 
in  Churches';  David  C.  Taylor,  'Voice  Culture,  Past 
and  Present';  Carl  Van  Vechten,  'Shall  we  Realize 
Wagner's  Ideals?'  'Notes  on  Gluck's  Armide,' 
'De  Senectute  Cantorum,'  'The  Relative  Difficulties 
of  Depicting  Heaven  and  Hell  in  Music ' ;  Eva  A. 
Vescelius,  'Music  and  Health';  Helen  Ware,  'The 
American-Hungarian  Folk-,Song ' ;  Wesley  Weyman, 
'The  Science  of  Pianoforte  Techniiiue';  T.  Carl 
Whitmer,  'A  Post-Impressionistic  View  of  Beetho- 
ven,' 'The  Energy  of  American  Crowd  Music' ;  Her- 
bert J.  Wrightson,  'The  Secret  of  Technique'; 
Jaroslaw  de  Zielinski,  'Russian  Hunting  Music' 

MUSICAL  SOCIETY,  THE,  of  Boston, 
apparently  founded  in  1785  and  continuing  till 
1789,  is  important  because  probably  directed 
by  William  Selby  and  because  it  carried  through 


'MUSICIAN,  THE' 


MYER 


305 


a  performance  of  extracts  from  Handel's  works 
in  January,  1786,  which  seems  to  have  stimu- 
lated similar  efforts  elsewhere.  See  Sonneck, 
Concert-Life,  pp.  275-82. 

•MUSICIAN,  THE.'  See  article  in  Vol. 
iii.  688-9.  Mr.  Tapper  ceased  to  be  editor 
in  1907  and  was  succeeded  by  W.  J.  Baltzell, 
who  continued  till  1918,  when  the  magazine 
passed  from  the  Ditson  Company  to  the 
Henderson  Publications,  Inc.,  New  York. 

MUSIKVEREIN,  DER,  of  Milwaukee, 
was  founded  in  1847,  giving  its  first  concert 
in  May,  1850.  Its  conductor  till  1860  was 
Hans  Balatka.  Combining  choral  and  orches- 
tral efforts  and  being  supported  by  a  large  Ger- 
man constituency,  it  stands  out  as  one  of  the 
leading  early  factors  in  the  development  of 
musical  interest  in  the  Interior.  For  list  of 
works  performed  up  to  1880,  see  Ritter,  Music 
in  America,  chap.  xxi.  The  present  conductor 
is  Hermann  A.  Zeitz. 

MUSIN,  OVIDE  (Sept.  22,  1854,  Nandrin, 
Belgium).  See  article  in  Vol.  iii.  342.  His 
first  American  appearance  was  in  1883  with 
the  New  York  Symphony  Society  under  Leo- 
pold Damrosch.  With  the  Philharmonic  So- 
ciety under  Thomas  he  played  the  Godard  con- 
certo for  the  first  time  in  America.  Form- 
ing his  own  concerts  troupe,  he  made  many 
tours  in  the  United  States,  in  1892  journeyed 
to  Australia,  New  Zealand  and  Mexico,  and  in 
1896  visited  Japan,  China  and  Manila.  In 
1908  he  established  a  violin-school  in  New  York. 
His  decorations  are  many  —  Officier  de  I'Ordre 
de  Leopold  in  Belgium,  Commandeur  de  I'Ordre 
du  Nisham  Iftikar  and  Officier  de  I'Academie 
in  France,  member  of  the  Ordre  du  Merite  in 
Holland,  Officier  de  I'Ordre  de  Bolivar  in 
Venezuela,    etc.     His   violin-works    (with    or- 


chestra or  piano)  include  two  Caprices,  Valse 
de  Concert,  Mazurka  de  Concert,  'Extase,' 
Valse  Lente,  Berceuse,  'Mazurka  Elegante' 
and  'Lullaby  and  Prayer.'  He  has  made  nu- 
merous transcriptions,  as  of  Bach's  Chaconne, 
Viotti's  22nd  Concerto,  Handel's  Sonata  in  A, 
Tartini's  'Trillo  del  Diavolo'  and  Variations 
on  a  Corelli  Gavotte  (all  Carl  Fischer)  ;  a 
Prelude  by  Campagnoli,  Pergolese's  'Canzonet 
Napolitaine,'  Paganini's  Romance  in  B  minor, 
Radoux'  'Words  from  the  Heart,'  and  many 
others  in  his  own  Repertoire  du  Virtuose.  He 
has  combined  his  own  studies  with  those  of 
Leonard  in  The  Belgian  School  of  the  Violin, 
4  vols.,  1916,  besides  issuing  many  separate 
exercises  and  studies.  His  wife,  n6e  Annie 
Lotiise  Hodges  (b.  1856,  Oshkosh,  Wis.),  is 
an  accomplished  soprano  and  has  joined  him 
in  his  many  concert-tours.     [  R.7  ] 

MUZIO,  CLAUDIA  (b.  1892).  See  Regis- 
ter, 10. 

MYER,  EDMUND  JOHN  (Jan.  21,  1846, 
York  Springs,  Pa.),  after  general  education 
in  Wyoming  Seminary  and  Dickinson  College 
in  Pennsylvania,  studied  music  in  Philadelphia 
and  New  York.  In  1878  he  settled  in  the 
latter  city,  where  he  has  since  been  active  as 
a  singer  and  teacher  of  singing.  He  founded 
the  National  Sxmamer  School  of  Music  at  Lake 
Chautauqua  and  Round  Lake,  N.  Y.,  and  has 
also  taught  summer-classes  in  Seattle,  Wash. 
He  is  author  of  Truths  of  Importance  to  Vo- 
calists, 1883,  The  Voice  from  a  Practical  Stand- 
point, 1886,  Voice-Training  Exercises,  1888, 
Vocal  Reinforcement,  1891,  Position  and  Action 
in  Singing,  1897,  The  Renaissance  of  the 
Vocal  Art,  1902,  The  Vocal  Instructor,  1913, 
and  A  Revelation  to  the  Vocal  World,  1917. 
[  R.6  1 


N 


NACHEZ,  TIVADAR  (b.  1859).  See  Reg- 
ister, 10. 

NAGEL.  FRANK  (b.  1870).  See  Col- 
leges, 3  (Highland  Park  C,  Iowa). 

NAPOLEAO,  ARTHUR  (b.  1843).  See 
Register,  5. 

t  NAPRAVNIK,  EDUARD  FRANTS- 
OVITCH  (Aug.  24,  1839,  near  Koniggratz, 
Bohemia  :  Nov.  10,  1916,  Petrograd,  Rus- 
sia). See  article  in  Vol.  iii.  352-3.  There  are 
Russian  biographies  by  Weymarn,  1888,  and 
Findeisen,  1898. 

NARODNY,  IVAN  (b.  1874)  and  MARIA, 
n6e  Mieler  (b.  1888).     See  Register,  9. 

NASH,  W.     See  Tune-Books,  1836. 

NATIONAL  CONSERVATORY  OF  MU- 
SIC OF  AMERICA,  THE,  of  New  York  and 
Washington,  was  founded  in  1885  by  Mrs. 
Jeannette  M.  Thurber  and  holds  charters 
both  from  New  York  State  (1885)  and  from 
Congress  (1891),  as  to  this  latter  being  unique. 
Until  about  1915  tuition  was  free,  being  pro- 
vided by  funds  supplied  by  Mrs.  Thurber 
and  other  supporters.  The  average  number 
of  pupils  per  year  has  been  about  600.  It 
has  been  specially  successful  in  helping  students 
of  foreign  birth  and  certain  special  classes, 
like  the  blind  and  those  of  Negro  blood.  At 
first  vocal  music  was  emphasized,  with  much 
attention  to  solfeggio,  after  the  model  of  the 
Paris  Conservatory,  but  all  instrumental 
and  theoretical  branches  were  soon  added. 
The  list  of  distinguished  teachers  who  have 
served  for  a  longer  or  shorter  time  is  long  and 
imposing.  Among  the  general  directors  have 
been  Jacques  Bouhy  in  1885-89,  Antonin 
Dvofdk  in  1892-95,  Emil  Paur  in  1899-1902 
and  Wassily  Safonov  in  1906-09,  and  on  the 
staff  have  been  names  like  Mme.  Fursch-Madi 
(1885-94),  B.  O.  Klein  (1887-92),  Adele 
MarguHes  (since  1887),  Joseffy  (1888-96), 
Huneker  (1888-98),  Finck  (since  1888), 
S.  P.  Warren,  Victor  Herbert,  Anton  Seidl, 
Frank  Van  der  Stucken,  Leo  Schulz  (since 
1890),  Leopold  Lichtenberg  (since  1899), 
Max  Spicker  (1895-1912)  and  many  others. 
Humperdinck  was  invited  to  become  director 
in  1913  and  accepted,  but  was  not  released 
at  Berlin.  From  time  to  time  the  Con- 
servatory has  offered  prizes  for  composition 
—  among  the  winners  being  Henry  Schoene- 
feld  with  his  'Rural  Symphony'  (1892), 
Joshua  Phippen  of  Boston  with  a  piano- 
concerto,  F.  F.  BuUard  with  a  suite  for  strings, 
Horatio  Parker  with  his  cantata  '  The  Dream- 
King  and  his  Love,'  and  G.  W.  Chadwick  with 
a  symphony.  Marguerite  Merington  also 
took  a  prize  for  the  opera-libretto  'Daphne.' 


Special  attention  has  been  given  to  the  de- 
velopment of  the  Conservatory  orchestra  and 
its  operatic  classes.  It  was  while  director  that 
Dvorak  wrote  his  'New  World'  Symphony, 
the  title  being  suggested  by  Mrs.  Thurber. 

NATIONAL  ASSOCIATION  OF  OR- 
GANISTS, THE,  was  organized  in  1908  by 
Tali  Esen  Morgan  as  an  outgrowth  of  gather- 
ings promoted  by  him  at  Ocean  Grove,  N.  J. 
Its  first  seven  conventions  (till  1914)  were 
held  at  Ocean  Grove.  In  1915-17  they  were 
at  Springfield,  Mass.,  in  1918  at  Portland, 
Me.,  in  1919  at  Pittsburgh  and  in  1920  at 
New  York.  The  presidents  have  been  Will 
C.  Macfarlane  in  1908-09,  Mark  Andrews 
in  1909-10,  Homer  N.  Bartlett  in  1910-11, 
Clarence  Eddy  in  1911-12,  J.  Christopher 
Marks  in  1912-14,  Arthur  S.  Brook  in  1914- 
17,  Frederick  Sclilieder  in  1917-20  and  now 
Henry  S.  Fry.  The  object  of  the  Association 
is  fraternal  rather  than  academic.  In  a 
variety  of  ways  it  has  served  to  arouse  en- 
thusiasm among  its  members  and  to  advance 
the  interests  of  organ-music  as  a  specialty. 
The  present  membership  is  over  1000.  Its 
official  organ  was  at  first  'The  Musical  World,' 
in  1915-19  'The  Console,'  which  was  wholly 
devoted  to  its  affairs  and  well  edited  by 
M.  M.  Hansford,  and  now  'The  Diapason.* 
Since  1912  the  secretary  has  been  Walter 
N.  Waters,  24  W.  60th  St.,  New  York. 

NATIONAL  EDUCATIONAL  ASSOCIA- 
TION, THE,  since  about  1880  has  regularly 
given  attention  to  questions  relating  to  music, 
especially  in  the  public  schools,  and  has  long 
maintained  a  Music  Section  for  this  purpose. 
Its  Annual  Proceedings  have  therefore  included 
a  large  number  of  important  papers  on  the  sub- 
ject. The  president  of  the  Section  for  1920  is 
W.  Otto  Miessner  of  the  Milwaukee  State 
Normal  School  and  the  secretary  Sarah  B. 
Callinan,  William  Penn  High  School,  Philadel- 
phia. 

NATIONAL  FEDERATION  OF  MUSI- 
CAL CLUBS,  THE,  was  founded  in  1898  by 
Mrs.  Theodore  Sutro  of  New  York.  It  has  now 
grown  to  vast  proportions,  knitting  together 
musicians  and  music-lovers  throughout  the 
country,  and  instigating  activity  of  various 
sorts,  from  the  development  of  the  small 
local  circle  to  the  holding  of  great  biennial 
assemblages  in  different  places.  Eleven  such 
conventions  have  been  held,  the  latest  in 
1919  at  Peterboro,  N.  H.,  in  connection  with 
the  MacDowell  Memorial  Colony  there. 
The  Federation  publishes  'The  Musical 
Monitor'  as  its  official  organ,  the  editor  being 
Mrs.    David    A.    Campbell,     The    president 


306 


NATIONAL  OPERA  COMPANY 


NEUENDORFF 


307 


is  Mrs.  F.  A.  Seiberling,  of  Akron,  O.,  and  the 
secretary  Mrs.  John  F.  Lyons,  Fort  Worth, 
Tex.  The  entire  country  is  divided  into  dis- 
tricts, each  with  its  own  officers,  so  that  a 
large  amount  of  local  enthusiasm  is  stimulated. 
In  connection  with  its  biennial  gatherings, 
as  well  as  on  a  smaller  scale  in  other  ways, 
the  Association  aims  to  foster  musical  pro- 
duction by  offering  various  prizes,  often  of 
large  amount. 

NATIONAL  OPERA  COMPANY,  THE, 
was  the  name  adopted  by  the  American  Opera 
Company  for  the  season  of  1886-87.  Theodore 
Thomas  continued  as  conductor,  assisted  by 
Gustav  Hinrichs  and  Arthur  Mees.  The 
most  notable  event  was  the  first  American 
rendering  of  Rubinstein's  '  Nero '  (in  English) 
on  Mar.  14,  1887,  at  the  Metropolitan  Opera 
House.  Masse's  'Galatea'  was  also  given  in 
Brooklyn  on  Dec.  30,  1886,  and  Delibes'  ballet 
'Coppelia'  at  the  Metropolitan  in  March. 
The  company  spent  most  of  its  time  on  tour, 
winding  up  disastrously  at  San  Francisco, 
though  with  two  or  three  performances  on 
the  way  back  to  New  York. 

'NATOMA.'  A  three-act  opera  by  Victor 
Herbert  on  a  text  by  Joseph  D.  Redding. 
It  was  foreshadowed  in  an  announcement 
by  Hammerstein  as  early  as  1907,  was  sub- 
mitted to  Gatti-Casazza  at  the  Metropolitan 
Opera  House  and  partially  tested  in  rehearsal, 
and  was  finally  produced  by  the  Chicago- 
Philadelphia  Company  at  Philadelphia  on 
Feb.  25,  1911,  and  repeated  by  the  same 
Company  at  the  Metropolitan  on  Feb.  28. 
The  story  is  laid  in  Southern  California  during 
the  Spanish  domination  and  involves  some 
Indian  elements. 

'NEC-NATOMA.'  No.  12  of  the  'Grove- 
Plays'  of  the  San  Francisco  Bohemian  Club, 
produced  in  1914.  The  music  is  by  Uda 
Waldrop  and  the  text  by  J.  Wilson  Shields, 
the  scene  being  long  ago  in  the  redwood  forest. 

NEFF,  CHARLES  DANIEL  (b.  1867). 
See  Colleges,  3  (Upper  Iowa  U.). 

NEGRO  MUSIC.  See  article  in  Vol.  iii. 
359-62.  The  bibliography  is  open  to  con- 
siderable extension,  certainly  so  as  to  include 
Krehbiel,  A  fro- American  Folk-Songs,  1914, 
Mrs.  Curtis-Burlin,  Negro  Songs,  2  vols., 
1918,  with  her  articles  in  'The  Musical 
Quarterly,'  January  and  October,  1919,  and 
the  summaries  in  The  Art  of  Music,  iv.  pp. 
284-311,  and  in  The  American  History  and 
Encyclopedia  of  Music,  volume  on  'American 
Music,'  pp.  47-70.  A  striking  article  on 
'Musical  Culture  in  Negro  Schools  and 
Colleges,'  by  Mrs.  Lydia  H.  Hamlin,  is  in 
the  M.  T.N.  A.  Proceedings,  1916,  pp.  144-55. 
This  latter  calls  attention  to  the  way  in  which 
the  Negro's  innate  capacity  for  song  is  being 
turned    to    practical    account    in    present-day 


education.  Interesting  instances  of  strong 
artistic  development  among  colored  students 
in  music-schools  in  many  parts  of  the  country 
might  be  cited.  R.  Nathaniel  Dett,  music- 
director  at  Hampton  Institute,  has  notable 
distinction  as  composer  and  Harry  T.  Bur- 
leigh has  made  a  mark  as  singer  and  song- 
writer. These  are  but  conspicuous  examples. 
In  1912  David  Mannes  started  in  New  York 
a  Music  School  Settlement  for  Colored  People. 
In  1919  began  the  issue  of  a  monthly  periodical 
in  Philadelphia,  'The  Master-Musician,'  de- 
voted to  the  interests  of  Negro  musicians. 

Analogous  to  what  was  noted  under  Indian 
Music  is  the  increasing  tendency  among 
American  composers  to  utilize  Negro  themes 
or  at  least  the  spirit  and  topics  of  Negro 
music.  Chadwick  in  his  2nd  Symphony 
(1885)  was  perhaps  the  first  significant  ex- 
ample. Dvorak's  'New  World'  Symphony 
(1893)  doubtless  exerted  more  influence, 
especially  because  expressing  a  strong  con- 
viction on  the  composer's  part  as  to  the  value 
of  this  neglected  source.  Gilbert  early  began 
the  series  of  works  that  includes  the  'Negro 
Episode,'  the  ' Americanesque'  (1903),  the 
'Comedy-Overture'  (1911),  the  'Negro  Rhap- 
sody' (1913)  and  'The  Dance  in  Place  Congo' 
(1918).  Humiston's  'Southern  Fantasie' 
came  out  in  1906,  and  Powell's  'Sonata 
Virginianesque,'  his  suite  'In  the  South' 
and  various  lesser  works  were  not  much  later. 
Innumerable  cases  might  be  cited  of  the  use 
of  Negro  material  in  songs,  as  by  Farwell, 
Ayres,  Burleigh,  Cook  and  others,  besides 
the  composers  already  named. 

With  reference  to  the  extension  of  music- 
education  it  is  not  impossible  that  in  the  future 
the  various  colleges  for  Negroes  will  become 
able  to  magnify  technical  training  so  as  to 
produce  decided  results.  At  present  only 
two  or  three  of  these  colleges  emphasize  music, 
notably  Fisk  University  at  Nashville,  Hampton 
Institute  in  Virginia  and  Tuskegee  Institute 
in  Alabama. 

NEIDLINGER,  WILLIAM  HAROLD 
(b.  1863).     See  Register,  8. 

NEPOMUCENO,  ALBERTO  (b.  1864). 
See  Register,  8. 

NEUENDORFF,  ADOLF  (June  13,  1843, 
Hamburg,  Germany  :  Dec.  4,  1897,  New 
York),  came  to  New  York  when  a  boy  of 
twelve,  studied  violin  with  Weinlich  and 
Matzka  and  piano  with  Schilling,  at  sixteen 
began  playing  the  violin  at  the  Stadt  Theatre 
and  at  seventeen  appeared  as  pianist.  In 
1861  he  toured  Brazil  as  violinist,  on  his 
return  took  up  theory  with  Anschiitz  and  in 
1864  succeeded  him  as  conductor  of  German 
opera  in  Milwaukee.  In  1867-71  he  was 
music-director  of  the  new  Stadt  Theatre  in 
New  York,   where  he  gave  40  Ught  operas, 


308 


NEUPERT 


NEVIN 


and  in  the  last  season,  with  a  troupe  specially 
brought  from  Europe,  a  long  list  of  German 
works,  including  the  first  American  produc- 
tion of  'Lohengrin'  (Apr.  15,  1S71).  In  1872 
he  joined  Carl  Rosa  and  Wachtel  in  giving 
a  notable  season  of  Italian  opera  at  the 
Academy  of  Music,  and  for  two  years  managed 
the  Germania  Theatre.  In  1875  he  gave 
German  opera  at  the  Academy,  with  Wachtel 
again  and  Mme.  Pappenheim.  At  this  time 
he  was  also  leading  a  choral  society  and  serv- 
ing as  church-organist.  In  1876  he  con- 
ducted Beethoven  concerts  and  attended  the 
opening  of  Wagner's  opera-house  at  BajTeuth 
as  correspondent  of  the  '  Staats-Zeitung.' 
In  1877  he  led  the  Wagner  Festival  at  the 
Academy,  including  the  first  American  pre- 
sentation of  'Die  Walkiire'  (Apr.  3).  In 
1878  he  was  conductor  of  the  Philharmonic 
Society.  The  failure  of  the  Germania  Theatre 
in  1883  ruined  him  financially  and  he  moved 
to  Boston,  but  served  as  conductor  in  various 
connections,  such  as  in  1887-88  with  Josef 
Hofmann,  in  1889-91  with  the  Emma  Juch 
Company  and  in  1892  giving  English  opera 
in  New  York.  In  1893-95  he  was  in  Vienna, 
where  his  wife,  Mme.  Januschowsky,  was 
prima  donna  at  the  Opera.  From  1896  he 
was  music-director  at  Temple  Emanu-El  in 
New  York  and  in  1897  followed  Seidl  as  con- 
ductor of  the  Metropolitan  Orchestra.  He 
composed  two  symphonies  (1878,  'SO),  the 
comic  operas  'The  Rat-Charmer  of  Hame- 
lin'  (1880),  'Don  Quixote'  (1882),  'Prince 
Woodrufe*  (1887)  and  'The  Minstrel'  (1892), 
several  overtures,  cantatas,  choruses  and  songs. 
[  R.4  ] 

NEUPERT,  EDMUND  (Apr.  1,  1842, 
Christiania,  Norway  :  June  22,  1888,  New 
York),  had  his  first  training  from  his  father. 
From  1858  he  studied  in  Berlin  with  Kullak 
and  Kiel,  becoming  teacher  in  the  former's 
Academy  and  associate  of  the  latter  in  the 
Stern  Conservatory.  From  1868  he  was 
leading  piano-teacher  at  the  Copenhagen 
Conservatory  and  in  1880-81  was  assistant 
and  for  a  short  time  successor  of  Nicholas 
Rubinstein  At  the  Moscow  Conservatory. 
After  1882  he  was  ip  New  York,  where  hia 
concert-playing  made  a  deep  impression  —  '  a 
sweep,  power  and  breadth  truly  gorgeous  and 
overwhelming,'  said  one  critic.  His  com- 
positions were  almost  wholly  salon-pieces, 
6tudes  and  exercises,  including  a  Piano-School 
(1880),  Concert-fitudes,  op.  17,  Octave-Stud- 
ies, op.  18,  Studies  in  Style,  opp.  19-20,  Poeti- 
cal £;tudes,  opp.  25,  51,  etc.     [  R.7  ] 

NEVADA,  EMMA  [name  originally  Wixom] 
(1862,  Alpha,  Cal.).  See  article  in  Vol.  iii. 
365-6.  In  1884-85  she  was  a  member  of 
Mapleson's  troupe  and  as  such  sang  not  only 
in  New  York  and  San  Francisco,  but  at  the 


Grand  Opera  Festival  in  Chicago  in  May, 
1885,  and  again  in  1889.  Since  then  she  has 
been  heard  only  in  Europe.     [  R.7  ] 

NEVIN,  ARTHUR  FINLEY  (Apr.  27. 
1871,  Edgeworth,  Pa.),  after  a  partial  course 
at  the  University  of  Pittsburgh,  in  1891-93 
studied  in  Boston  at  the  New  England  Con- 
servatory, taking  piano  with  Otto  Bendix, 
voice  with  Nobbs  and  theory  with  Goetschius, 
followed  by  four  years  in  Berlin,  studying  piano 
with  Klindworth  and  Jedliczka  and  com- 
position with  Boise  and  Humperdinck.  In 
1897-1910  he  lived  at  Edgeworth  engaged 
with  teaching  and  composition,  except  that 
in  1903-04,  having  become  deeply  interested 
in  Indian  music,  he  lived  among  the  Blackfeet 
Indians  of  Montana,  noting  their  music  and 
legends.  This  gave  the  basis  for  his  opera 
'Poia,'  later  composed  at  Edgeworth,  and  for 
many  lectures,  beginning  with  one  in  1907  in 
the  White  House  in  Washington  at  President 
Roosevelt's  invitation.  On  Apr.  23,  1910, 
'Poia'  was  given  at  the  Royal  Opera  in  Berlin 
under  Muck  —  the  first  American  opera  to 
be  accepted  by  such  a  house  —  after  prepara- 
tion under  the  composer's  direction.  In 
1911-14  he  lived  at  Charlottesville,  Va.,  busy 
with  composition,  and  in  1914-15  was  engaged 
in  conducting  in  connection  with  the  Mac- 
Dowell  Association's  work  at  Peterboro,  N. 
H.  Since  1915  he  has  been  head  of  the  choral 
and  extension-work  of  the  University  of 
Kansas,  involving  the  oversight  of  35  com- 
munity-choruses. In  1917-18  he  had  leave 
of  absence  to  direct  music  at  Camp  Grant  in 
Illinois,  where  he  drilled  41,000  soldiers  in 
singing,  led  a  massed  band  of  240  and  oc- 
casionally had  a  chorus  of  35,000  at  one  time. 
His  works  include,  besides  'Poia'  (published 
by  Filrstner),  the  one-act  opera  'A  Daughter 
of  the  Forest'  (1918,  Chicago,  published  by 
Church),  the  masque  'A  Night  in  Yaddo- 
Land,'  the  cantatas  'The  Djinns,'  with  ac- 
companiment for  two  pianos  (divided  prize 
from  the  Mendelssohn  Club  of  Cleveland), 
and  'Roland,'  a  'Miniature  Suite'  in  five 
movements  for  orchestra,  two  other  orchestral 
suites  —  'Lorna  Doone'  and  'Love-Dreams,' 
a  string-quartet  in  D  minor,  'At  the  Spring' 
for  string-orchestra,  a  piano-trio  in  C,  'Baka- 
wali  Dances'  for  orchestra  (written  for  Ruth 
St.  Denis) ,  three  piano-suites  and  other  piano- 
pieces,  about  25  songs  and  several  choral  works. 
See  his  article  on  his  Indian  experiences  in 
'The  Musical  Quarterly,'  April,  1916.     [  R.8  ] 

NEVIN,  ETHELBERT  WOODBRIDGE 
(Nov.  25,  1862,  Edgeworth,  Pa.  :  Feb.  17, 
1901,  New  Haven,  Conn.).  See  article  in 
Vol.  iii.  366.  Interest  in  his  music  does  not 
diminish,  and  Elson's  calling  'The  Rosary' 
'the  most  famous  American  song'  appears 
justified.     It  was  first  sung  by  Francis  Rogers, 


NEVIN 


NEW  ENGLAND  CONS. 


309 


accompanied  by  the  composer,  at  a  concert 
in  Madison  Square  Garden  Concert  Hall  in 
New  York  on  Feb.  15,  1898.  The  panto- 
mime 'Lady  Floriane's  Dream'  was  produced 
in  New  York  the  same  year.  To  the  list  of 
works  add  the  song-cycle  'Captive  Memories,' 
(1900,  New  York)  and  his  only  choral  work, 
'  The  Quest.'  After  his  death  the  orchestration 
of  the  latter  was  completed  by  Horatio  Parker. 
See  Thompson,  The  Life  of  Ethelbert  Nevin, 
1913,  and  article  by  Francis  Rogers  in  'The 
Musical  Quarterly,'  July,    1917.     [  R.7  ] 

NEVIN,  GEORGE  BALCH  (b.  1859). 
See  Register,  7. 

NEVIUS,  J.  W.     See  Tune-Books,  1817. 

NEW  ENGLAND  CONSERVATORY  OF 
MUSIC,  THE,  of  Boston,  was"  established 
in  1867  by  Eben  Tourj^e,  then  in  charge  of 
a  successful  school  in  Providence.  With 
him  for  a  time  was  associated  Robert  Gold- 
beck,  and  the  original  faculty  included  Lang, 
Perabo,  Emery,  Zerrahn,  Tuckerman  and 
George  E.  Whiting.  The  conservatory  was 
first  located  in  rooms  in  the  Music  Hall  Build- 
ing, with  easy  access  to  the  best  concerts  and 
to  the  great  organ.  In  1870  the  first  class 
of  thirteen  was  graduated,  and  the  Con- 
servatory was  incorporated  with  the  provision 
that  all  profits  from  operation  should  be 
devoted  exclusively  to  the  interests  of  the 
institution.  The  director's  activity  in  the 
Peace  Jubilees  of  1868  and  1872  undoubtedly 
helped  progress.  The  faculty  was  steadily 
enlarged  and  strengthened,  by  1875  including 
every  important  Boston  musician,  and  the 
student-body  increased  rapidly,  up  to  1878 
totaling  over  14,000,  coming  from  all  parts 
of  the  United  States  and  Canada.  An  early 
emphasis  was  given  to  public-school  music, 
for  which  in  1874  a  summer-school  was  opened 
at  East  Greenwich,  R.  I.  When  Luther  W. 
Mason  went  to  Japan  in  1879-82  to  introduce 
American  methods,  it  was  as  a  member  of 
the  Conservatory  staff. 

In  1882  the  large  St.  James  Hotel  on  Frank- 
lin Square  was  bought  to  provide  better  teach- 
ing facilities  and  a  suitable  dormitory  for 
women-students.  Here  the  Tourjees,  husband 
and  wife,  created  a  genuine  home  for  the  pupils. 
In  May  of  that  year  the  thousandth  Conser- 
vatory concert  was  given.  But  the  financing 
of  the  big  enterprise  was  difficult.  Devices 
like  providing  some  non-musical  instruction 
were  tried,  and  aid  was  sought,  unsuccessfully, 
from  the  State.  This  burden  hastened  the 
director's  death  in  1891.  He  was  follov/ed 
in  1891  by  Carl  Faelten,  who  was  in  turn 
succeeded  in  1897  by  George  W.  Chadwick, 
the  present  director.  The  latter  at  once 
proceeded  to  organize  the  institution  upon 
strictly  musical  lines,  to  strengthen  the 
faculty    by    adding    yoimger    teachers    who 


had  had  modern  intensive  training,  and  to  lift 
the  standard  generally  to  that  of  the  best 
European  schools.  Among  the  strong  ac- 
cessions were  Helen  Hopekirk,  Carl  Baermann, 
and  Wallace  Goodrich,  who  in  1907  became 
dean  of  the  faculty.  Plans  were  also  de- 
veloped for  a  new  building,  largely  on  the 
initiative  and  with  the  help  of  Eben  D.  Jordan, 
later  president  and  munificent  benefactor. 

In  1902  the  Conservatory  removed  to  its 
present  building  on  Huntington  Avenue, 
close  to  the  new  Symphony  Hall  and  various 
literary  and  educational  centers.  This  build- 
ing, designed  by  Wheelwright  and  Haven, 
is  a  model  of  convenience  and  taste  —  with 
ample  offices  and  public  rooms,  a  large  audi- 
torium (called  Jordan  Hall  after  the  donor), 
a  second  auditorium,  seating  about  400,  over 
fifty  class-rooms,  a  library  and  museum,  a 
music-store  and  printing-offices,  etc.  The 
business-manager  is  Ralph  L.  Flanders,  whose 
efficient  policy  for  over  fifteen  years  has  led 
to  the  practical  extinction  of  the  debt  of  over 
half  a  million  inherited  from  earlier  years. 

The  average  number  of  students  annually 
is  above  3000  and  the  total  registration  since 
foundation  over  100,000.  The  faculty  of 
over  seventy-five  members  includes  teachers 
and  soloists  of  national  reputation.  The 
regular  courses,  leading  to  a  diploma  in  any 
one  of  the  principal  branches,  are  designed 
to  prepare  for  a  professional  career  as  artist 
or  teacher.  Special  students  are  also  ad- 
mitted, with  full  privileges  as  to  lectures  and 
recitals.  Emphasis  is  placed  upon  the  organ- 
department,  the  dramatic  department,  public- 
school  music,  the  orchestra  and  the  various 
ensemble-classes.  The  orchestra,  numbering 
about  seventy-five,  is  a  complete  symphonic 
organization,  has  rehearsals  twice  a  week 
under  the  director  or  dean,  gives  several 
concerts  with  classical  and  modern  programs, 
and  assists  in  sundry  Conservatory  functions, 
including  accompaniment  of  advanced  stu- 
dents. It  has  supplied  players  for  many  of  the 
leading  orchestras  of  the  country.  Since  1905 
the  Conservatory  has  had  relations  with  Har- 
vard University  whereby  students  of  either  can 
pursue  certain  studies  with  credit  in  the  other. 
The  library  of  almost  5000  volumes  is  strong 
in  complete  editions,  cathedral  music,  choral, 
orchestral  and  chamber-works,  and  in  books  of 
general  reference.  The  museum  of  instruments 
contains  interesting  specimens  from  Oriental 
and  Asiatic  countries.  Women-students  are 
provided  for  in  a  series  of  residences  near  by, 
under  Conservatory  management,  with  ac- 
commodation for  about  200. 

The  Conservatory  is  supported  by  receipts 
from  tuition  and  from  invested  funds,  the 
latter  largely  coming  by  bequest  from  Eben 
D.  Jordan  and  Mrs.  Robert  Dawson  Evans. 


310    NEW  HAVEN  ORCHESTRA 


NEWMAN 


Reference  is  made  on  pp.  33-4  to  the  unique 
eminence  of  the  Conservatory  in  the  history 
of  American  musical  education.  It  was  the 
first  large  music-school,  and  has  always 
occupied  a  position  of  noble  leadership  and 
beneficent  influence. 

NEW  HAVEN  SYMPHONY  ORCHES- 
TRA, THE,  was  organized  in  1896  more  or 
less  as  an  adjunct  to  the  Yale  School  of 
Music.  Until  1919  the  conductor  was  Horatio 
Parker.  In  1907  Isidore  Troostwyk,  the  con- 
certmaster,  started  the  New  Haven  String 
Orchestra,  which  he  has  since  conducted. 
Among  first  performances  by  this  latter  are 
Kriens'  'In  Holland'  Suite  (1912)  and  a  suite 
by  Troostwyk  (1914). 

'NEW  MUSIC  REVIEW,  THE.'  See 
note  in  Vol.  iii.  689.  The  first  number  of 
'  The  Church  Music  Review'  appeared  in 
December,  1901.  The  'Review'  has  occupied 
a  place  by  itself  for  acute  editorials,  able 
contributed  articles,  useful  summaries  of 
leading  events,  the  management  of  church 
music  and  for  many  years  official  records  of 
the  A.  G.  O. 

NEW  ORLEANS  FRENCH  OPERA 
TROUPE,  THE,  is  the  name  most  often  used 
for  various  companies  playing  in  New  Orleans 
at  intervals  from  about  1800  and  often  making 
considerable  tours  in  the  North.  Most  of 
these  were  troupes  brought  from  Paris. 

NEW  ORLEANS  OPERA  HOUSE,  THE, 
or  The  New  French  Opera  House,  was  built 
by  Boudousquie  in  1859  and  remained  the 
home  of  brilliant  productions  until  1919,  when 
it  was  destroyed  by  fire.  Among  works 
given  here  for  the  first  time  in  America  are 
Gounod's  'La  Reine  de  Saba'  and  'Le  Tribut 
de  Zamora,'  Bizet's  'L'Arlesienne,'  Massenet's 
'Herodiade,'  'Esclarmonde,'  'Werther,'  'Cen- 
drillon'  and  'Don  Quichotte,'  Salvayre's  'Rich- 
ard III,'  Saint-Saens' '  Samson  et  Dalila,'  Lalo's 
'Le  Roi  d'Ys,'  Reyer's  'Salammbo,'  Cilia's 
'Adrienne  Lecouvreur,'  Giordano's  'Siberia' 
and  Leroux'  'Le  Chemineau.'  The  influence 
of  the  traditions  of  this  House  has  been  espe- 
cially felt  in  Chicago  and  New  York.  See  The 
Art  of  Music,  iv.  pp.  162-5. 

NEW  THEATRE,  THE,  in  New  York,  was 
erected  in  1909  primarily  to  provide  a  place 
for  spoken  drama.  In  1909-10,  however,  it 
was  the  scene  of  a  supplementary  season  of 
40  performances  by  the  forces  of  the  Metro- 
politan Opera  House,  the  works  being  lighter 
than  those  there  given.  In  1913-15  it  was 
again  used  for  opera  under  the  name  of  The 
Century  Theater  (see  Century  Opera  Com- 
pany). 

NEW  YORK  CHAMBER  MUSIC  SO- 
CIETY, THE,  was  formed  in  1914  by  Carolyn 
Beebe  and  Gustave  Langenus.  At  first  they 
shared   the   direction,    but   soon   Miss   Beebe 


became  sole  conductor.  The  aim  has  been  to 
assemble  a  strong  body  of  expert  players  of 
both  string-  and  wood-instruments,  to  develop 
an  ensemble  like  that  of  a  string-quartet, 
and  to  build  up  a  large  and  significant  reper- 
toire. The  Society  has  had  much  success. 
In  1919  it  was  incorporated,  and  now  controls 
the  exclusive  services  of  its  players.  The 
members  are  Miss  Beebe,  pianist  and  di- 
rector, Pierre  Henrotte  and  Scipione  Guidi, 
violins,  Samuel  Lifschey,  viola,  Paul  K6fer, 
'cello,  Emil  Mix,  double-bass,  Gustave  Lan- 
genus, clarinet,  William  Kincaid,  flute,  Henri 
de  Busscher,  oboe,  Ugo  Savolini,  bassoon, 
and  Joseph  Franzl,  horn.  All  the  members 
are  American-born  or  naturalized  citizens. 
The  Society  has  introduced  the  following 
works : 

(1917)  Dubois'  'Deux  Pieces  en  forme  canonique' ; 
d'Indy'a  Trio  in  B-flat,  op.  29;  Goepfart's  Quartet 
in  F,  op.  98;  Huas' Four  Intermezzi ;  Sekles' Serenade 
in  B-flat,  op.  6 ;  Mason's  Scherzo-Caprice,  op.  14a ; 
Tovey's  Variations  on  a  theme  of  Glucli,  op.  28 ;  Hol- 
brooke's Nocturne,  'Fairyland,'  op.  57,  no.  1 ;  Hurt's 
Quintet  in  D ;  (1918)  Dubois'  Quintet  in  F  and 
Dixtuor  in  D ;  Juon's  Divertimento  in  F,  op.  51 ; 
Taylor's  Suite,  'Through  the  Looking-Glass,'  op. 
12;  Goossens'  Suite  in  C,  op.  6;  (1919)  Ries'  Octet 
in  A-flat,  op.  128;  Firani'a  'Gavotte  Rococo'  and 
'Whirlwind'  Scherzo;  Tovey's  Trio  in  D  minor, 
op.  14;  Goossens'  Suite,  ' Impressions  of  a  Holiday,' 
op.  7;  (1920)  Lefebvre's  Quintet  in  A;  Griffes' 
Suite,  op.  5 ;  Sowerby's  Quintet  in  D  minor ;  Jun- 
gen's  Trio  in  F-sharp,  op.  30. 

Several  of  these  were  written  for  the  Society, 
and  other  special  works  are  in  prospect. 

NEW  YORK  COLLEGE  OF  MUSIC,  THE, 
was  founded  in  1878.  In  1887-1905  the  di- 
rector was  Alexander  Lambert,  who  was 
succeeded  by  Carl  Hein  and  August  Fraemcke. 

NEW  YORK  SACRED  MUSIC  SOCIETY, 
THE,  was  a  choral  society  formed  in  1823 
on  the  basis  of  the  choir  of  Zion  Church.  In 
1831  it  gave  'The  Messiah' — the  first  com- 
plete performance  in  New  York  —  and  in 
1838  the  first  American  rendering  of  'St. 
Paul,'  both  conducted  by  U.  C.  Hill.  In 
1849  it  was  replaced  by  the  Harmonic  Society. 

NEW  YORK  TRIO  CLUB,  THE,  was 
founded  about  1867  by  Bernard*us  Boekelman 
and  directed  by  him  as  pianist  till  1888.  The 
other  members  were  R.  Richter,  violinist,  and 
Emil  Schenck,  'cellist.  In  1919  a  New  York 
Trio  was  formed  with  Clarence  Adler,  pianist, 
Scipione  Guidi,  violinist,  and  Cornelius  Van 
Vliet,  'cellist. 

NEWCOMB,  ETHEL  (b.  1879).  See  Reg- 
ister, 9. 

NEWHALL,  JAMES.  See  Tune-Books, 
1802. 

t  NEWMAN,  ERNEST  (Nov.  30,  1868, 
Liverpool,  England),  was  originally  meant 
to  enter  Civil  Service  work  in  India,  but  was 
diverted  by  ill-health  into  business  in  Liver- 


NICHOLAS 


NORDEN 


311 


pool,  taking  up  writing  as  an  avocation.  In 
1903-05,  however,  he  taught  music  in  the 
Midland  Institute  at  Birmingham,  and  since 
1905  has  been  music-critic,  in  1905-06  for  the 
Manchester  'Guardian,'  in  1906-19  for  the 
Birmingham  'Post'  and  since  1919  for  the 
London  'Observer.'  His  extensive  knowledge 
and  incisive  style  have  made  him  eminent  as 
a  writer.  He  has  published  Gluck  and  the 
Opera,  1895,  A  Study  of  Wagner,  1899,  Wagner, 
1904,  Musical  Studies,  1905,  Elgar,  1906,  Hugo 
Wolf,  1907,  Richard  Strauss,  1908,  Wagner  as 
Man  and,  Artist,  1914,  and  A  Musical  Motley, 
1919,  besides  translating  Weingartner's  Ueber 
das  Dirigieren,  Schweitzer's  /.  S.  Bach,  and 
most  of  the  Wagner  opera-texts  in  the  Breit- 
kopf  &  Hartel  edition.  He  has  also  edited 
The  New  Library  of  Music  and  Fifty  Songs  of 
Hugo  Wolf,  and  was  a  contributor  to  The  Art 
of  Music,  1914-17. 

NICHOLAS,  CHARLES  K.  See  Col- 
leges, 3  (Midland  C,  Neb.). 

NICHOLL,  HORACE  WADHAM  (Mar. 
17,  1848,  Tipton,  England).  See  article  in 
Vol.  iii.  372.  From  1883  he  was  long  a  reader 
for  Schirmer.  In  1888-95  he  taught  harmony 
and  ensemble-playing  with  Boekelman  at 
Farmington,  Conn.  He  has  published  12 
Grand  Preludes  and  Fugues  for  piano  (ex- 
traordinary for  contrapuntal  dexterity),  an 
organ-sonata  in  A  minor,  op.  42,  a  piano- 
concerto  in  D  minor,  op.  10,  a  'cello-sonata, 
op.  13,  a  violin-sonata,  op.  21,  etc.  He  has 
also  issued  a  Text-Book  on  Harmony.     [  R.6  ] 

NIELSEN,  ALICE  (b.  1876),  See  Regis- 
ter, 8. 

NIELSEN,  PER.  See  Colleges,  3  (West- 
minster C,  Pa.). 

NIKISCH,  ARTUR  (Oct.  12,  1855,  Szent- 
Mikl6s,  Hungary).  See  article  in  Vol.  iii. 
379-80.  In  1912  he  made  a  tour  of  the 
United  States  with  the  London  Symphony 
Orchestra  (85  players),  giving  27  concerts 
during  April,  beginning  in  New  York  and  in- 
cluding Chicago,  Kansas  City,  St.  Louis, 
Buffalo,  Toronto,  Ottawa,  Montreal  and 
New  York  again,  all  with  notable  success. 
See  biographies  by  Pfohl,  1900,  and  Lipaiev, 
1904.     [  R.7  ] 

NIKITA  [Louise  Margaret  Nicholson]  (b. 
1872).     See  Register,  7. 

NILSSON,  CHRISTINE  (Aug.  20,  1843, 
near  Wexio,  Sweden).  See  article  in  Vol. 
iii.  380-1.  In  August,  1916,  a  national  tribute 
was  given  her  by  testimonial  performances 
in  the  opera-houses  and  theaters,  a  public 
reception  and  the  presentation  of  a  medal  on 
her  birthday.     [  R.6  ] 

NINISS,  J.  R.  See  Colleges,  2  (Queen's 
C,  N.  C). 

NOACK,  SYLVAIN  (Aug.  21,  1881,  Rot- 
terdam,  Holland),    at   first    aimed    to    be   a 


pianist,  but  took  up  the  violin  with  Spoor 
and  continued  with  Elderling  at  the  Amster- 
dam Conservatory  in  1898-1900,  winning' 
first  prize  at  graduation.  In  1900-03  he  played 
in  the  Concertgebouw  Orchestra  and  in  1903- 
05  taught  in  the  Conservatory  and  was  second 
in  the  Conservatory  Quartet.  In  1905-06 
he  was  in  Rotterdam  and  in  1906-08  concert- 
master  of  the  City  Orchestra  in  Aix-la-Chapelle 
and  leader  of  a  quartet.  From  1908  he  was 
second  concertmaster  of  the  Boston  Symphony 
Orchestra,  appearing  in  1909  as  soloist  in 
Saint-Saens'  B  minor  Concerto  and  repeatedly 
later.  In  1915,  with  Roth,  Ferir  and 
Schroeder,  he  formed  the  Boston  String 
Quartet.  In  1919  he  removed  to  Los  Angeles 
to  become  concertmaster  of  the  Philharmonic 
Orchestra.     [  R.9  ] 

NOBLE,  THOMAS  TERTIUS  (May  5, 
1867,  Bath,  England).  See  article  in  Vol. 
V.  655.  After  fifteen  years  at  York  Minster, 
in  1913  he  resigned  to  become  organist  at  St. 
Thomas'  in  New  York.  Besides  his  duties 
there  he  has  been  often  heard  in  recital  else- 
where, making  an  extended  tour  in  1913  and 
playing  at  the  Panama-Pacific  Exposition  in 
1915.  Columbia  University  made  him  an 
honorary  A.M.  in  1918.  His  list  of  works 
includes,  besides  those  mentioned : 
Anthems  a  cappella  — 

'But  now  thua  saith  the  Lord,'  'Go  to  dark 
Gethsemane,'  'A  Christmas  Pastorale,'  'Come, 

0  Creator  Spirit  blest,'  'Come,  O  Thou  Traveler 
unknown,'  'Fierce  was  the  wild  billow,'  'Grieve 
not  the  Holy  Spirit  of  God,'  'Hail,  gladdening 
light,'  'I  will  lay  me  down  in  peace,'  'Jesu,  the 
very  thought  of  Thee,'  'Let  all  the  world,'  'O 
hearken  thou  unto  the  voice,'  'O  Thou  to  whom 
all  creatures  bow'  (8-part),  'O  Wisdom,  Spirit 
of  the  living  God,'  'Rejoice  to-day  with  one  ac- 
cord,' 'The  Saints  of  God,'  'The  Soul  Trium- 
phant,'  'The  souls  of  the  righteous.' 

Anthems  with  accompaniment  — 

'Glory  to  God  in  the  highest,'  'Go  not  far  from 
me'  (from  Zingarelli),  'Lord,  we  pray  Thee' 
(from  Haydn),  'A  Prayer  of  Thanksgiving' 
(from    Kremser),    'The    Risen    Christ,'    'When 

1  consider  Thy  heavens,'  'Zadok  the  Priest' 
(from  Handel). 

3  Processionals,   12  Christmas  Carols,  2  Vesper 
Hymns. 
Organ-Works  — 

'An   Elizabethan  Idyll,'    'Intermezzo   in   A-flat,' 
'  M61ancolique,'    'Nachspiel,'     3    Short    Pieces 
(Reverie,    Elegy,    Finale),  Toccata  and  Fugue 
in  F  minor,  Triumphal  March,  Solemn  March 
in  E  minor.  Theme  and  Variations  in  D-flat,  and 
arrangements     of     Pleyel's     Adagio     in     B-fiat, 
Camidge's  Concerto  in  G  minor,  Corelli's  Suite 
in  F,  and  of  two  Hebrew  melodies. 
Orchestral  and  Chamber-Works  — 
Morris-Dance  for  orchestra. 
Suite  for  violin  and  orchestra. 
Several  pieces  for  violin  and  piano. 

Several  sacred  and  secular  songs  and  part-songs. 

[  R.IO  ] 

NORDEN,  N.  LINDSAY  (Apr.  24,   1887, 
Philadelphia),    studied    in    New    York    with 


312 


NORDICA 


NOVAOEK 


Spicker,  Weld  and  F.  W.  Robinson,  graduated 
from  Columbia  University  in  1909  and  studied 
further  with  Rybner,  gaining  a  Mus.B.  in  1911. 
In  1904-05  he  was  organist  at  St.  Bartholo- 
mew's Chapel  and  while  in  the  University  was 
assistant  at  the  Chapel  there.  In  1906-15  he 
served  at  St.  Mary's  and  in  1915-17  at  All 
Saints',  both  in  Brooklyn,  and  developed  from 
1912  the  iEoHan  Choir  there  for  the  study  and 
presentation  of  Russian  music,  giving  about 
thirty  recitals  and  bringing  out  over  80  works, 
some  of  them  unperformed  outside  of  Russia. 
Since  1916  he  has  been  conductor  of  the 
Mendelssohn  Club  in  Philadelphia,  succeeding 
Gilchrist,  and  since  1917  organist  at  the 
Second  Presbyterian  Church  there  and  at 
St.  Paul's  in  Ogontz,  besides  teaching  at  the 
Episcopal  Academy.  In  addition  to  his  exten- 
sive editing  of  Russian  works,  he  has  published 
anthems  and  other  service-music ,  and  has  writ- 
ten the  overture  'King  Melville,'  a  setting  of 
'Thanatopsis'  for  soli,  chorus  and  orchestra, 
etc.  He  has  contributed  many  articles  on 
church-music  to  periodicals.    [  R.9  ] 

NORDICA  [Norton],  LILLIAN  (May  12, 
1859,  Farmington,  Me.  :  May  10,  1914, 
Batavia,  Java).  See  article  in  Vol.  iii.  389-90, 
and  note  in  Vol.  v.  655.  She  first  appeared 
in  opera  in  America  in  1883  at  New  York 
under  Mapleson  as  Marguerite.  She  was  at 
the  Metropolitan  Opera  House  in  1888-90 
and  1891-92,  and  first  appeared  there  as 
Isolde  in  1895.  She  took  the  same  role  at 
the  Grand-Opera  in  Paris  in  1910.  In  1910-1 1 
she  sang  with  the  Boston  Opera  Company 
and  In  1911  made  a  concert-tour  as  well. 
Her  last  concert-trip  was  to  Australia,  begin- 
ning a  world-tour,  and  her  last  concert  was 
at  Melbourne  in  December,  1913.     [  R.6  ] 

NORFOLK  (CONN.)  FESTIVALS.  See 
Litchfield  County  Choral  Union. 

NORMAL  INSTITUTES.  The  name  ap- 
plied to  summer-schools  for  teachers,  such  as 
began  to  be  common  just  before  the  Civil  War. 
The  first  example  is  said  to  have  been  that  held 
by  Root,  Hastings  and  Bradbury  in  1852  in 
New  York.  Emphasis  was  usually  laid  on 
vocal  music  and  on  elementary  theory,  with 
more  or  less  instrumental  demonstration 
through  recitals.  Though  loosely  conceived 
and  dependent  on  the  ability  of  particular 
leaders,  these  Institutes  doubtless  served  a 
useful  purpose.  They  foreshadowed  such 
well-organized  and  established  enterprises 
as  the  Chautauqua  Institution,  the  summer- 
schools  of  various  universities  and  certain 
detached  schools  for  teachers  that  are  now 
in  operation.     See  Conventions. 

NORMAL  SCHOOLS.  See  State  Nor- 
mal Schools. 

NORRIS,  HOMER  ALBERT  (Oct.  4, 
1860,    Wayne,    Me.     :     Aug.    14,   1920,  New 


York) ,  was  first  taught  by  Marston  in  Portland, 
studied  with  Turner,  Emery  and  Chadwick  at 
the  New  England  Conservatory  in  Boston,  and 
then  spent  four  years  in  Paris  with  Guilmant, 
Dubois,  Godard  and  Gigout.  His  early  posi- 
tions as  organist  were  in  Lewiston  and  Port- 
land, Me.,  and  in  1892-1904  he  was  at  the  Rug- 
gles  Street  Church  in  Boston  and  in  1904-13  at 
St.  George's  in  New  York.  He  devoted  himself 
largely  to  promulgating  French  ideas  in  compo- 
sition and  was  one  of  the  first  to  emphasize 
these  in  America,  publishing  Practical  Harmony 
on  a  French  Basis,  1896,  and  The  Art  of  Counter- 
point, 1899,  besides  numerous  articles  in  lead- 
ing periodicals.  His  compositions  include 
the  oratorio  'St.  John  the  Baptist,'  the  cantata 
'Nain,'  a  setting  of  Whitman's  'The  Flight 
of  the  Eagle,'  for  soprano,  tenor  and  baritone 
(1905),  about  60  songs,  including  'Twilight,' 
'Peace'  and  the  popular  'Rock-a-bye,  Baby,' 
and  pieces  for  organ  and  piano.     [  R.7  ] 

NORTH  AMERICAN  MUSIC  FESTI- 
VALS, THE,  are  gatherings  organized  in  1916 
by  A.  A.  Van  de  Mark  and  held  annually  in 
Lockport,  N.  Y.  The  programs  include  papers 
and  discussions  upon  varied  topics  of  practical 
interest,  with  extended  performances  of  music, 
vocal  and  instrumental,  by  American  compos- 
ers and  interpreters.  Several  prizes  are  offered 
for  works  specially  written  in  competition. 

NORTHWESTERN  CONSERVATORY 
OF  MUSIC,  THE,  of  Minneapolis,  was 
founded  in  1885  by  Charles  H.  Morse  and 
diirected  by  him  till  1891  after  the  model  of 
the  New  England  Conservatory. 

NORTHWESTERN  UNIVERSITY,  Ev- 
anston,  111.  (Methodist),  has  had  a  School  of 
Music  since  1873,  though  at  first  not  organically 
related  to  its  total  system.  Since  1891,  how- 
ever, under  the  care  of  Peter  C.  Lutkin  (dean 
from  1897)  it  has  been  not  only  in  full  stand- 
ing among  the  constituent  schools  of  the  Uni- 
versity, but  more  and  more  notable  for  the 
breadth  of  its  instruction  and  the  influence  of 
its  work.  The  faculty  numbers  about  35,  and 
the  students  about  900  (including  preparatory 
courses  and  summer-school).  Special  atten- 
tion is  given  to  ensemble-work,  vocal  and 
instrumental,  and  to  public-school  methods. 
The  A  Cappella  Choir  is  a  noted  institution, 
as  also  the  Musical  Club  and  the  Symphony 
Orchestra.  See  under  Chicago  North  Shore 
Festivals. 

NORTON,  SETH  (d.  1818).  See  Tune- 
BooKS,  1816. 

NORTON,  WILLIAM  WELLINGTON 
(b.  1881).     See  State  Universities  (N.D.). 

'NOTRE  DAME  DE  PARIS.'  An  opera 
by  William  H.  Fry,  produced  in  April,  1864, 
at  Philadelphia. 

NOVACEK,  OTTOKAR  EUGEN  (May 
13,    1866,   Feh6rtemplom,    Hungary     :     Feb. 


MME.    LILLIAN   NORDICA 


Copyright  by  Aime  Dupont 


NOVAES 


NUNO 


313 


3,  1900,  New  York).  See  article  in  Vol.  iii. 
410.  After  1893  he  lived  for  a  time  in  Berlin, 
but  returned  to  New  York  to  play  in  the 
Metropolitan  Opera  House  orchestra.  Brod- 
sky  played  his  violin-suite  in  Leipzig  as  early 
as  1894.  Busoni's  performance  of  the  piano- 
concerto  was  with  the  Berlin  Philharmonic 
Orchestra  in  1896.    [  R.8  ] 

NOVAES,  GUIOMAR  (Feb.  28,  1895, 
Sao  Joao  da  BoS  Vista,  Brazil),  began  study 
at  seven  in  Sao  Paulo  and  appeared  there  as 
pianist  at  nine.  Her  promise  was  such  that 
the  Brazilian  government  assigned  her  a 
subsidy  and  in  1909  she  entered  the  Paris 
Conservatory  as  first  among  nearly  400 
applicants.  After  two  years  with  Philipp  in 
1911  she  graduated  with  a  first  prize,  made 
her  formal  d6but  and  entered  upon  a  long 
tour  on  the  Continent,  in  England,  and  in 
South  America.  In  November,  1915,  she 
first  played  in  New  York  and  has  since  been 
repeatedly  heard  there  and  elsewhere  with 
enthusiasm.  Finck  said  of  her  in  the  'Even- 
ing Post'  at  one  time,  'More  inspired  playing 
has  never  been  heard  in  iEolian  Hall,  and 
iEolian  Hall  audiences  have  heard  all  the  fore- 
most pianists  of  the  time.'     [  R.IO  ] 

NOYES,  EDITH  ROWENA  (Mar.  26, 
1875,  Cambridge,  Mass.),  in  1891-96  was  a 
pupil  of  MacDowell  in  Boston  and  of  Chad- 
wick,  and  has  since  worked  there  as  pianist, 
teacher,  and  composer.  Her  more  important 
works  are  the  operetta  'Last  Summer'  (1898, 
Lowell),  a  violin-sonata  in  F-sharp  minor, 
op.  70,  on  Indian  themes,  a  piano-trio,  op.  73, 
and  the  pageant-opera  'Waushakum'  (1917, 
Framingham,  Mass.),  besides  many  piano- 
pieces,  songs,  and  anthems.  In  1909  she 
married  Roy  G.  Greene.     [  R.8  ] 

NOYES,  EDWARD  HIBBARD  (Mar.  23, 
1867,  London,  Ont.),  first  studied  with  Mr. 
and  Mrs.  W.  H.  Sherwood  in  Boston  and  in 
1885-87  was  organist  there.  Between  1887 
and  1895  he  studied  with  Barth  in  Berlin,  was 
for  a  year  court-pianist  to  Prince  de  Levin  in 


Russia,  studied  further  with  Mme.  Essipov- 
Leschetizky  in  Vienna  and  made  a  tour  in 
Norway  and  Sweden  with  the  violinist  Fred- 
eriksen.  Since  1895  he  has  taught  in  Boston 
and  also  at  the  Hartford  (Conn.)  School  of 
Music,  becoming  noted  through  many  able 
pupils.  In  1899-1901  he  played  in  several 
series  of  trio-recitals  with  Troostwyk,  with 
Leo  Schulz,  the  'cellist,  with  the  Kneisel 
Quartet,  etc.  He  has  published  a  few  songs 
(Thompson).     [  R.7  ] 

NUNNS,  ROBERT  and  WILLIAM.  See 
Register,  3. 

NUNO,  JAMES  (Sept.  8,  1824,  San  Juan 
de  las  Abadesas,  Spain :  July  17,  1908,  Buf- 
falo), was  a  choir-boy  at  the  Barcelona  Ca- 
thedral, studied  composition  with  Merca- 
dante  in  Italy  and  led  small  orchestras  in 
Barcelona  for  some  years.  In  1851  he  became 
band-master  in  the  army  and  was  sent  to  Cuba 
to  establish  band-music  there.  About  1853 
Santa  Anna  made  him  general  band-inspector 
in  Mexico  and  he  soon  became  one  of  the  two 
directors  of  the  new  National  Conservatory 
in  Mexico  City,  besides  composing  the  present 
Mexican  national  hymn.  In  1856  he  managed 
tours  in  the  United  States  for  singers  from  the 
Italian  opera,  served  as  conductor  with  Thal- 
berg  and  presently  led  both  Italian  and  French 
opera  at  Havana,  being  also  associated  with 
Gottschalk.  In  1863-69  he  led  opera-troupes 
not  only  in  Cuba,  but  in  the  United  States, 
Mexico  and  Central  America,  with  singers 
like  Sontag,  Grisi,  Mario,  Malibran,  Kellogg 
and  Patti,  and  in  1864  assisted  as  conductor 
at  the  welcome  to  Maximilian.  After  1870 
he  lived  at  Buffalo,  teaching  singing  and 
conducting  various  societies,  serving  as 
organist  at  different  churches  there  and  in 
Rochester,  and  composing  about  50  church- 
works.  In  1904,  on  invitation  from  President 
Diaz,  he  was  the  guest  of  honor  at  the  fiftieth 
anniversary  of  the  writing  of  his  National 
Hymn  (first  given  on  Sept.  15-16,  1854)  and 
received  a  remarkable  ovation.     [  R.4  ] 


o 


OBER,  MARGARETE  (Apr.  15,  1885, 
Berlin,  Germany),  studied  singing  with  Stolz- 
enberg  in  Berlin  in  1903-05  and  later  with 
Arthur  Arndt,  whom  she  married  in  1910. 
Her  debut  as  stage-soprano  Was  in  1906  at 
Frankfort  in  the  role  of  Azucena.  In  1906-07 
her  success  at  the  Stettin  Stadt-Theater  was  so 
pronounced  that  she  was  called  to  the  Ber- 
lin Royal  Opera.  She  created  the  title-role 
there  in  Massenet's  'Th6r^se'  in  1908  and 
that  of  Nenahu  in  Nevin's  'Poia'  in  1910.  In 
1913  she  was  engaged  for  the  Metropolitan 
Opera  House,  appearing  on  Nov.  21  as  Ortrud. 
She  has  since  remained  there,  until  1916 
returning  to  Germany  for  the  summers. 
Her  repertoire  includes  the  roles  of  Brangane, 
Ortrud,  Fricka,  Waltraute,  Erda,  Klytem- 
nestra  (in  'Iphigenia  en  Aulide'),  Eglantine 
(in  'Euryanthe'),  Fides,  Dalila,  Azucena, 
Amneris,  Laura  (in  'La  Gioconda')i  Marina 
(in  'Boris  Godunov'),  the  Witch  (in  'Hansel 
und  Gretel'),  Octavian  (in  'Der  Rosen- 
kavalier')  and  Katharina  (in  'Der  Wider- 
spenstigenZahmung').     [  R.IO  ] 

OBERHOFFER,  EMIL  (Aug.  10,  1867,  Mu-" 
nich,  Germany),  as  a  boy  took  up  violin 
and  organ  with  his  father,  in  youth  had  ad- 
vice from  Kistler  in  piano  and  composition, 
and  later  studied  piano  with  Plailipp  in  Paris. 
Coming  to  America,  after  a  brief  stay  in  New 
York,  in  1897  he  located  in  St.  Paul  as  con- 
ductor of  the  Apollo  Club  and  from  1901  of 
the  Minneapolis  Philharmonic  Club.  This 
latter  work  led  in  1903  to  the  organization 
of  the  Minneapolis  Symphony  Orchestra, 
which  he  has  since  directed  with  such  ability 
that  it  has  become  one  of  the  leading  orchestras 
of  the  country.  He  has  also  been  for  a  time 
organist  at  the  Church  of  the  Redeemer  in 
Minneapolis  and  is  on  the  music-staff  of  the 
University  of  Minnesota.     [  R.8  ] 

OBERLIN  COLLEGE,  Oberliu,  O.  (Con- 
gregational), began  to  provide  music-teaching 
as  early  as  1837,  when  George  N.  Allen,  then 
a  student,  was  designated  as  instructor  in 
sacred  music.  He  continued  as  such  after 
graduating  in  1839  and  in  1841  was  made 
professor,  remaining  in  service  till  1864.  Two 
of  his  pupils,  John  P.  Morgan  and  George  W. 
Steele,  in  1865  organized  a  Conservatory, 
which  at  first  was  only  affiliated  with  the 
College  in  a  general  way.  In  1867  Morgan 
withdrew  and  from  1869  the  administration 
was  taken  up  by  Fenelon  B.  Rice,  who  re- 
mained in  charge  till  his  death  in  1901,  steadily 
building  up  the  efficiency  of  the  department 
in  every  direction.  In  1884,  by  the  gift  of 
Lucien   C.   Warner  and   wife  of   New  York, 


the  superior  Warner  Hall  was  built,  which  was 
later  much  extended  by  the  addition  of  a 
fine  concert-hall  and  further  facilities.  This 
hall  seats  about  1000,  and  there  are  two  large 
lecture-rooms,  25  studios,  an  ample  library 
and  about  120  practice-rooms.  The  organ- 
equipment  is  unusually  elaborate,  including 
a  large  concert-organ,  2  for  teaching  and  21 
for  practice.  In  1910  the  Rice  Memorial 
Hall  was  added  to  the  plant,  with  almost  as 
much  opportunity  for  practice  as  in  Warner 
Hall.  Since  1901  the  director  has  been 
Charles  W.  Morrison,  who  has  effectively 
continued  the  energetic  policy  of  earlier  years. 
The  faculty  now  numbers  about  35  and  the 
work  of  the  Conservatory  is  so  interlocked 
with  that  of  the  College  that  practically  the 
whole  student-body  of  1500  comes  under  its 
influence.  Muaic  counts  as  a  regular  elective 
in  the  course  for  A.  B.  and  post-graduate 
work  may  be  taken  leading  to  a  Mus.B. 
(over  300  su.ch  degrees  conferred).  The  usual 
number  of  pupils  annually  enrolled  is  over 
600.  Among  the  notable  features  of  the  cur- 
riculum are  the  emphasis  upon  organ,  theory 
and  history  and  the  stimulus  to  choral  music 
through  the  Oberlin  Musical  Union. 

OBERLIN  MUSICAL  UNION,  THE,  is 
a  choral  society  antedating  the  Oberlin  Con- 
servatory, though  vitally  related  to  it.  Started 
in  1860,  its  first  ten  years  were  largely  given 
to  the  performance  of  miscellaneous  programs 
under  vai'ious  leaders,  including  C.  H.  Church- 
ill, G.  W.  Steele,  J.  P.  Morgan  and  J.  C. 
Fillmore  of  Oberlin  and  some  visiting  con- 
ductors on  certain  occasions,  such  as  E.  M. 
Foote,  B.  F.  Baker,  and  J.  G.  Barnett.  In 
1871-1900  Fenelon  B.  Rice  was  permanent 
conductor  and  since  1900  George  W.  Andrews. 
Since  1871  not  much  besides  complete  works 
has  been  given.  The  chorus  usually  numbers . 
about  200  and  three  concerts  are  now  given 
annually  (nearly  200  since  organization). 
A  few  performances  have  also  been  given  in 
Cleveland  with  the  Pittsburgh  or  Chicago 
Orchestras.  'The  Messiah'  was  early  taken 
up  and  in  1880-1903  was  sung  twice  each  year. 
'Elijah'  has  been  given  about  15  times,  'St. 
Paul,'  5 ;  Bach's  Christmas  Oratorio,  1 ; 
Beethoven's  9th  Symphony,  2 ;  his  Missa 
Solemnis,  1 ;  Brahms'  Requiem,  2 ;  Verdi's 
Requiem,  4  ;  Bruch's 'Odysseus,' 4  ;  Franck's 
'Les  Beatitudes,'  5;  G.  Schumann's  'Ruth,' 
2;  Saint-Saens'  'Samson  et  Dalila,'  8;  Elgar's 
'Dream  of  Gerontius,'  3;  Wolf-Ferrari's 
'La  Vita  Nuova,'  2;  Piern6's  'The  Children's 
Crusade,'  2  ;  concert  performances  of  Wagner's 
'Tannhauser,'     'Lohengrin,'    and     'Parsifal,' 


314 


O'BRION 


O'NEILL 


315 


etc.     Several  of  these  were  the  first  renderings 
in  the  Middle  West. 

O'BRION,  MARY  ELIZA  (b.  1859).  See 
Register,  7. 

ODELL  &  CO.,  J.  H.  &  C.  S.,  a  well-known 
firm  of  organ-builders  in  New  York,  was 
founded  in  1859  by  John  H.  Odell  (1830-99) 
and  Caleb  S.  Odell  (1827-93),  two  brothers  who 
had  been  in  the  employ  of  Ferris  &  Stewart. 
Their  first  modest  factory  was  at  165  Seventh 
Ave.,  and  the  first  organ  of  importance  made 
was  in  1863  for  the  South  Baptist  Church 
(opening  recital  by  G.  W.  Morgan  and  Mme. 
Parepa-Rosa) .  In  1866  they  patented  a 
system  of  pneumatic  piston-knobs  for  control- 
ling combinations  which  proved  so  succcessful 
that  increased  business  compelled  them  to 
seek  larger  facilities  at  407-9  West  42nd  St. 
The  plant  here  was  more  than  doubled  in 
1873,  and  is  now  finely  equipped.  In  1898 
the  firm  patented  its  '  Vacuo-Exhaust '  system, 
a  simple  and  efficient  type  of  tubular  action. 
In  1914  was  introduced  a  valuable  electro- 
magnetic action  that  was  a  decided  improve- 
ment over  the  electro-pneumatic  system 
preAdously  used.  Altogether  the  firm  has 
built  about  620  instruments,  of  which  6  are 
4-manual  and  60  3-manual.  Among  the 
former  are  those  in  Temple  Emanu-El,  New 
York  City  (1903)  and  St.  Joseph's,  Albany, 
N.  Y.  (1913).  The  direction  of  the  business 
has  remained  with  the  Odell  family,  sons  of 
both  founders  succeeding  in  1893,  and  two 
grandsons  of  C.  S.  Odell  following  in  1911. 

'CEDIPUS  TYRANNUS.'  A  setting  of 
Sophocles'  play  by  John  K.  Paine,  written 
for  performance  at  Harvard  University  in 
1881.  This  was  the  first  of  its  kind  in  America 
and  is  counted  one  of  Paine's  strongest  works. 
!  OESTERLE,  OTTO  (1861-1894).  See  Reg- 
ister, 7. 

OETTING,  WILLIAM  H.  (Oct.  14,  1875, 
Pittsburgh),  studied  with  his  father,  who  for 
25  years  was  organist  at  the  First  German 
Evangelical  Church  in  Pittsburgh,  and  other 
local  teachers,  followed  by  two  years  in  Berlin, 
continuing  organ  under  Reimann  and  Egidi, 
piano  under  Hutcheson  and  composition 
under  Boise.  At  the  same  time  he  taught  the 
English  class  in  harmony  at  the  Klindworth- 
Scharwenka  Conservatory.  Since  1901  he 
has  been  organist  and  teacher  in  Pittsburgh, 
accompanist  of  the  Apollo  Club,  in  1905-07 
organ-recitalist  at  the  Carnegie  Institute,  and 
since  1915  one  of  the  directors  of  the  Pittsburgh 
Musical  Institute.  At  present  he  is  organist  at 
the  Sixth  United  Presbyterian  Church.  He  has 
written  an  overture,  an  orchestral  Romanza 
(Pittsburgh  Festival  Orchestra),  an  organ- 
sonata,  a  Prelude  and  Fugue  in  E  minor  for 
organ  (Gray),  piano-pieces,  several  anthems 
(Church,  Kranz),  songs,  etc.     [  R.8  ] 


'OLD  FOLKS'  CONCERTS'  was  the  name 
given  in  1854  to  entertainments  conducted 
in  Boston  by  Robert  Kemp  (1820-97),  a 
dealer  in  shoes,  who  sought  to  keep  alive  the 
old-fashioned  'psalmody'  for  its  homely 
quaintness.  Since  then  the  term  has  been 
indiscriminately  applied  to  any  rendering  of 
similar  music,  often  presented  grotesquely 
and  even  in  caricature.  'Father'  Kemp 
published  an  Autobiography  in  1868. 

OLDBERG,  ARNE  (July  12,  1874,  Youngs- 
town,  O.),  was  the  son  of  a  noted  authority 
on  pharmacy  and  from  1884  was  educated 
in  Chicago,  where  he  had  his  early  training 
in  music,  supplemented  by  study  of  the  piano 
with  Leschetizky  in  Vienna  and  of  composition 
with  Rheinberger  in  Munich.  Since  1899  he 
has  been  head  of  the  piano-department  at 
Northwestern  University  in  Evanston,  111. 
He  has  won  distinction  especially  as  com- 
poser of  orchestral  works,  which  have  been 
brought  out  not  only  at  the  North  Shore 
Festivals,  but  by  the  Chicago,  Philadelphia, 
Minneapolis  and  other  orchestras.  His 
chamber-works,  also,  have  secured  a  wide 
hearing.  His  compositions  include  Sym- 
phonies in  F  minor,  op.  23,  and  C  minor,  op. 
34  (both  taking  prizes  in  national  com- 
petitions), the  overtures  'Paolo  and  Fran- 
cesca,'  op.  21  (1908,  Chicago  Orchestra),  and 
'Festival'  (1909,  North  Shore  Festival,  1910, 
Chicago  Orchestra),  the  orchestral  fantasy 
'At  Night,'  op.  38  (1916,  Chicago  Orchestra), 
12  Variations,  op.  19,  for  orchestra  and  organ 
(1912,  Chicago  Orchestra,  1913,  North  Shore 
Festival),  a  Rhapsody,  op.  36  (.1915,  Chicago 
Orchestra,  etc.),  a  concerto  for  horn,  op.  20, 
an  organ-concerto,  op.  35  (1914,  Chicago 
Orchestra),  a  piano-concerto,  op.  17,  a  string- 
quartet  in  C  minor,  op.  15,  two  quintets,  opp. 
16,  24,  for  piano  and  strings  and  one  in  E-flat, 
op.  18,  for  piano  and  wood-wind,  a  piano- 
suite,  op.  8,  a  piano-sonata,  op.  28,  Thematic 
Variations  for  piano,  op.  25,  a  'Legend,'  op.  26, 
three  'Miniatures,'  an  'Arabesque,'  op.  31,  an 
'Improvisation,'  op,  32,  a  'Russian  Prelude,' 
op.  33,  and  many  smaller  works.     [  R.8  ] 

OLDMIXON,  Mrs.,  n6e  George  (1768-  ?  ). 
See  Register,  2. 

OLIVER,  HENRY  KEMBLE  (1800-1885). 
See  Register,  3,  and  Tune-Books,  1848. 

OLMSTED,  TIMOTHY.  See  Tune- 
Books,  1805. 

'OMANO.'  An  opera  by  L.  H.  Southard, 
based  on  Beckwith's  'Vathek,'  twice  given  in 
concert-form  in  Boston  in  1858. 

t  O'NEILL,  NORMAN  (Mar.  14,  1875, 
London,  England).  See  article  in  Vol.  v. 
656.     Recent  works  include  the  following : 

'Overture  Humoresque,'  for  orchestra. 
'  Hornpipe'  for  orchestra. 
String-Quartet  (Schott). 


316 


'  ONTI-ORA ' 


ORCHESTRAS 


Incidental  music  for  'Freedom'  (1918,  New  York), 
Dunsany's  'The  Gods  of  the  Mountain'  (2 
dances  also  for  piano  separately)  and  'The 
Golden  Doom,'  Malleson's  'Paddy  Pools,' 
'Maurice's  Own  Idea'  and  'Michael'  (these 
three  for  string-quartet),  the  school-play  'Hia- 
watha' (Routledge),  and  Russian  Songs  for 
Tolstoi's  'Reparation'   (piano,  Ascherberg). 

'The  Swinburne  Ballet,'  for  chorus  and  orchestra. 

The  choruses  'Noel'  (Stainer)  and  'Lullaby'  (Ar- 
nold). 

Songs  — 'The  Eagles  of  England'  (Elkin),  'The 
Warrior-Lover'  (Schott),  'AH  for  Me'  and  'I 
Love  you  Dearly'  (Boosey). 

'Carillon,'  for  piano  (Ascherberg). 

Three  Old  English  Pieces,  for  piano  (Schott). 

Four  Songs  without  Words,  for  piano  (Anglo- 
French  Co.). 

'  In  the  Branches,'  for  piano  (Anglo-French  Co.) 

'ONTI-ORA.'  An  opera  in  three  acts  by 
Gustav  Hinrichs,  produced  in  June,  1891,  in 
Philadelphia. 

OPERA  IN  THE  UNITED  STATES.  See 
article  in  Vol.  iii.  466-72.  Many  additional 
details  are  given  under  Metropolitan  Opera 
House,  Manhattan  Opera  House,  Chicago- 
Philadelphia  Opera  Company,  Boston  Op- 
era Company,  etc.  See  Krehbiel,  Chapters 
of  Opera,  3rd  ed.,  1911,  and  More  Chapters  of 
Opera,  1919,  The  Art  of  Music,  iv.  chap.  vii. 
and  The  International  Year-Book,  1907-     . 

OPPERMAN,  ELLA  SCOBLE.  See  Col- 
leges, 2  (Florida  State  C.  for  Women). 

ORATORIO  SOCIETY  OF  BALTIMORE, 
THE,  was  founded  in  1882  by  Otto  Sutro. 
Its  first  conductor  was  Fritz  Finke  (1882-94), 
followed  by  Joseph  Pache,  who  is  still  in  office. 
The  chorus  numbers  300-350  singers,  and 
two  or  three  concerts  are  given  each  year, 
partly  supported  by  a  body  of  patrons.  The 
Society  devotes  itself  to  oratorio  music  of 
the  highest  class,  including  at  least  thirty 
works  of  large  dimensions  and  representing 
aU  periods  from  Bach  and  Handel  down  to  the 
present.  Notable  initial  performances  have 
been  those  of  Hamerik's  'Symphonie  Chorale' 
and  'Christian  Trilogy,'  Bruch's  'Moses'  and 
Nowowiej ski's  '  Quo  Vadis.' 

ORATORIO  SOCIETY,  THE,  of  Newark, 
N.  J.  (formerly  called  the  Schubert  Vocal 
Society),  was  organized  in  1878  by  Louis 
Arthur  Russell,  who  has  been  its  conductor 
ever  since.  Originally  formed  to  cultivate 
part-songs  and  cantatas,  after  a  few  years  it 
added  the  larger  field  of  oratorio  left  vacant 
by  the  disbanding  of  the  Harmonic  Society. 
Membership  is  limited  to  125  singers.  The 
regular  series  includes  three  performances, 
often  with  'popular'  concerts  besides,  and  the 
Society  has  repeatedly  cooperated  efficiently 
in  charitable  undertakings,  so  that  the  total 
number  of  concerts  has  been  towards  150. 
In  1894  Mr.  Russell  organized  the  Newark 
Symphony  Orchestra,  primarily  to  assist 
at  the  concerts  of  the  Oratorio  Society,  but 


also  to  give  occasional  instrumental  perform- 
ances. Besides  a  large  variety  of  cantatas 
and  lighter  works,  the  Society  has  given  the 
standard  oratorios,  sacred  and  secular,  and 
many  operas  or  parts  of  operas  in  concert-form. 
American  works  include  Buck's  'Hymn  to 
Music'  and  'Light  of  Asia,'  Chadwick's 
'Lovely  Rosabel,'  Russell's  'Pastoral  Rhap- 
sody,' Parker's  'King  Trojan,'  'Harold  Har- 
fagar'  and  'A  Star-Song,'  and  Hadley's  'In 
Music's  Praise.' 

ORATORIO  SOCIETY,  THE,  of  New 
York.  See  article  in  Vol.  iii.  370-1.  Frank 
Damrosch  continued  as  conductor  till  1912 
and  in  1912-17  was  succeeded  by  Louia 
Koemmenich  and  in  1917  by  Walter  Damrosch. 
Among  the  more  striking  accomplishmenta 
of  the  Society  in  recent  years  were  perform- 
ances in  1907  of  Wolf-Ferrari's  'La  Vita 
Nuova,'  in  1911  of  Franck's  'Les  Beatitudes,' 
Saint-Saens'  150th  Psalm  and  Grell's  Missa 
Solemnis,  in  1913  of  Taubmann's  'Eine 
deutsche  Messe'  and  Georg  Schumann's 
'Ruth,'  in  1914  of  Beethoven's  Missa  Solem- 
nis, in  1915  of  Bossi's  'Giovanna  d'Arco,'  etc. 
In  April,  1920,  the  Society  united  in  a  festival 
with  the  Symphony  Society  (as  previously 
in  1881)  at  which,  among  other  works,  Kelley's 
' Pilgrim's  Progress'  was  sung. 

ORATORIO  SOCIETY,  THE,  of  Toronto, 
was  founded  in  1912.  Its  conductor  is 
Edward  Broome.  The  chorus  numbers  200 
or  more.  There  are  at  least  two  concerts 
annually,  often  with  the  assistance  of  visiting 
orchestras,  such  as  the  Russian  Symphony, 
the  New  York  Philharmonic  or  the  Cincinnati 
Symphony.  The  Society  has  given  the  only 
performance  in  Canada  of  Gardiner's  'News 
from  Whydah'  and  Broome's  'Hymn  of  Trust.' 

ORCHESTRAS.  Aggregations  of  instru- 
ments were  common  in  the  various  musical 
undertakings  of  the  18th  century,  as  Sonneck's 
records  abundantly  show  (see  especially  his 
Concert-Life),  supplying  overtures,  symphonies 
and  the  accompaniments  for  operas  and 
choral  works  of  some  magnitude.  But  these 
were  not  permanent  in  membership  or  under 
any  steady  rehearsal.  The  first  important 
steps  toward  permanent  orchestras  were  taken 
by  the  Musical  Fund  Society  of  Philadelphia 
from  1820  and  the  Philharmonic  Society  of 
New  York  from  1842.  Stimulus  to  orchestral 
interest  came  notably  from  the  tours  of  the 
Germania  Orchestra  in  1848-54,  as  from  the 
visits  of  Gungl  in  1849  and  Jullien  in  1853. 
During  the  whole  decade  before  the  Civil 
War  the  popular  taste  for  instrumental  en- 
sembles was  also  much  advanced  in  certain 
places  by  chamber-concerts.  Every  attempt 
to  give  opera  on  a  large  scale  served  to  indicate 
orchestral  possibilities.  The  establishing  of 
'symphony  soirees'  in  New  York  by  Theodore 


OREM 


ORGAN 


317 


Thomas  in  1864  led  soon  to  his  epoch-making 
concert-tours  (1869-78).  After  1870  genuine 
symphony  orchestras  began  gradually  to  mul- 
tiply. Specially  significant  was  the  starting 
of  the  Cincinnati  Festivals  in  1873,  of  the 
New  York  Symphony  Society  in  1878,  and  of 
the  Boston  Symphony  Orchestra  in  1881.  In 
almost  all  the  larger  cities  —  and  in  not  a  few 
smaller  ones  as  well  — 'there  are  now  orchestral 
societies  of  importance.  It  has  recently  been 
said  that  twelve  or  fifteen  of  these  are  so  far 
highly  organized  as  to  hold  daily  rehearsals. 
Besides  giving  series  of  concerts  annually  in 
their  home-cities,  most  of  the  larger  orchestras 
extend  their  influence  by  prolonged  tours. 

OREM,  PRESTON  WARE,  born  in  Phil- 
adelphia, was  educated  at  the  Eastburn 
Academy  and  the  University  of  Pennsylvania, 
and  studied  organ  and  theory  with  Clarke 
and  piano  with  Jarvis  and  others.  In  1889- 
95  he  was  organist  at  St.  Paul's  Pro-Cathedral 
in  Los  Angeles.  He  then  returned  to  Phila- 
delphia, taught  one  year  at  the  Philadelphia 
Conservatory,  and  in  1896-1905  was  on  the 
staff  of  the  Combs  Conservatory.  Since  1900 
he  has  been  editor  and  critic  for  the  Presser 
Company  and  also  conductor  of  the  Presser 
Choral  Society.  In  1901-10  he  was  organist 
at  the  Walnut  Street  Presbyterian  Church. 
His  published  works  include  a  Romance  for 
violin  and  orchestra,  an  'American  Indian 
Rhapsody'  for  piano  (also  for  orchestra), 
many  songs,  piano-pieces,  etc.,  besides  ar- 
rangements and  transcriptions.  Unpublished 
works  are  a  piano-quartet  and  quintet  and  a 
Ballet  Suite  for  orchestra.  He  is  author  of 
a  Harmony-Book  for  Beginners,  which  has  had 
an  enormous  circulation.     [  R.8  ] 

ORGAN.  See  general  article  in  Vol.  iii. 
513-62,  with  some  references  to  American 
facts.  During  the  past  thirty  or  forty  years 
there  has  been  an  extraordinary  growth  in 
the  United  States  and  Canada  in  everything 
pertaining  to  organ-making,  organ-playing 
and  the  popularization  of  organ-music.  No 
adequate  summary  of  all  this  can  here  be  made. 
But  certain  remarks  may  be  set  down. 

The  same  mechanical  ingenuity  and  business 
enterprise  that  have  made  American  piano- 
making  eminent  have  been  applied  in  the 
making  of  pipe-organs,  though  the  two  indus- 
tries are  so  different  that  the  facts  in  the 
latter  field  are  not  as  obvious.  Probably  the 
improvements  in  organ-making  are  actually 
more  varied  and  at  least  equally  striking. 
The  installation  of  the  German  organ  in  the 
Boston  Music  Hall  in  1863  stimulated  advance 
in  a  general  way.  About  1870  the  experi- 
ments of  Hilbourne  L.  Roosevelt  in  both 
voicing  and  mechanism  were  speedily  followed 
by  others.  Competition  soon  became  keen 
to    offer    effective    solutions    of    problems    in 


pneumatic  and  electric  action,  in  augmented, 
stabilized  and  graded  wind-supply,  in  pro- 
gressive and  refined  stop-specification,  voicing 
and  pipe-disposition,  in  the  planning  and  in- 
ternal adjustments  of  consoles,  leading  to 
unprecedented  facilities  for  registration,  etc. 
Along  with  these  essential  improvements, 
which  have  come  into  general  use  since  about 
1900,  have  gone  others  less  tangible,  especially 
in  shop-efficiency,  expertness  in  erecting  and 
enterprise  in  developing  a  market.  The 
extraordinary  extension  of  the  industry  in  the 
United  States  is  also  partly  due  to  circum- 
stances that  are  peculiar,  such  as  the  rapid 
building  up  of  new  communities,  their  geo- 
graphical dispersion  (encouraging  the  found- 
ing of  organ-factories  at  many  separate 
points),  and  the  multiplicity  of  religious 
denominations  and  the  number  of  churches 
relative  to  the  population.  There  are  per- 
haps 100  establishments,  employing  2500-3000 
workers.  The  annual  output  is  probably 
over  2000  instruments,  among  which  the 
proportion  of  those  with  three  or  four  manuals 
has  lately  increased  decidedly. 

Within  the  last  three  decades  organ-playing 
as  a  specialty  has  made  remarkable  advances. 
Every  large  conservatory  and  music-school 
provides  elaborately  for  its  study.  The 
American  and  Canadian  Guilds  of  Organists 
have  done  much  to  foster  a  high  grade  of 
technical  skill  and  a  serious  professional 
purpose,  while  the  National  Association  of 
Organists  has  stimulated  zeal  and  ambition. 
Many  periodicals  devote  much  space  to  organ- 
interests,  and  several  organ-journals  have  been 
started.  Series  of  free  organ-recitals  are  now 
extremely  common,  and  many  large  cities 
provide  municipal  concerts.  Recitalists  make 
tours  like  pianists  and  violinists.  Special  re- 
cent developments  are  the  frequent  installa- 
tion of  large  instruments  in  hotels,  in  fraternal 
lodges,  and  in  theaters  and  places  where  photo- 
plays are  given.  Organ-music,  then,  has  be- 
come in  many  places  one  of  the  commonest  and 
most  popular  forms  off  concert-music.  The  re- 
action of  this  upon  organ-composition  has  al- 
ready become  noticeable.  Leading  journals  are 
'  The  Diapason,'  published  in  Chicago,  and  '  The 
American  Organist,'  published  in  New  York. 

In  the  'New  Music  Review,'  February,  1910,  is  a 
valuable  summary  by  Charles  A.  Radzinsky  of  the 
history  of  organ-making  in  New  York  City  during 
the  19th  century.  Special  tribute  is  paid  to  the  genius 
of  Henry  Erben  (d.  1884),  who  started  in  1820  with 
Thomas  Hall  (d.  1877),  but  from  1824  proceeded 
alone,  becoming  one  of  the  best-known  makers 
in  the  country.  He  made  nearly  150  organs  for  New 
York  alone,  the  most  famous  being  that  in  Trinity 
Church  (1846).  His  business  passed  to  his  leading 
workman,  Louis  C.  Harrison,  later  of  Bloomfield, 
N.  J.  Meanwhile  Hall  in  1824  formed  the  firm  of 
Hall  &  Lebagh,  which  about  1865  became  Hall, 
Lebagh  &  Kemp.     In  their  shop  H.   L.  Roosevelt 


318 


ORNSTEIN 


OSGOOD 


had  his  first  training.  Another  series  was  founded 
about  1840  by  Richard  M.  Ferris  and  the  brothers 
Levi  U.  and  William  Stewart,  in  whose  employ  were 
the  Odells  and  Midmer.  Morgan  Davis,  who  had 
been  a  piano-maker  from  about  1800,  and  his  son, 
William  H.  Davis  (d.  1888),  also  began  in  1840, 
followed  by  two  later  generations.  Thomas  and 
Wiliam  Robjohn  became  notable  after  1S50.  Among 
their  organs  was  that  in  the  South  (Reformed) 
Church,  said  to  have  been  the  first  in  America  with 
an  independent  pedal-division  (7  stops),  the  first 
pneumatic  action  and  the  first  Vox  Humana  (im- 
ported from  France  by  U.  C.  Burnap).  The  Rob- 
johns  became  voicers  for  the  Odells.  In  1853-75 
many  instruments  were  naade  upon  German  lines  by 
Francis  Xavier  Engelfried,  whose  two  sons  became 
voicers  for  Roosevelt.  Reuben  Midmer  (d.  1895), 
who  was  trained  both  under  Hall  &  Lebagh  and  under 
the  Stewarts,  set  up  for  himself  in  1860  and  in  1888 
was  succeeded  by  his  son.  This  firm  now  has  its 
factory  at  Merrick,  L.  I.,  and  its  office  in  Brooklyn. 
It  is  noteworthy  that  many  of  the  above  pioneers  in 
the  industry  were  English  by  birth  (except  Engel- 
fried). 

The  work  of  the  Jardines,  the  Odells  and  the  Roose- 
velts  is  referred  to  in  separate  articles. 

ORNSTEIN,  LEO  (Dec.  11,  1895,  Kremen- 
chug,  Russia),  began  studies  at  the  Petrograd 
Conservatory  which  from  1906  were  con- 
tinued at  the  Institute  of  Musical  Art  in  New 
York,  Mrs.  Thomas  Tapper  being  his  piano- 
teacher.  His  debut  as  pianist  was  made  in 
New  York  early  in  1911,  and  he  has  since 
toured  the  country  as  soloist  and  recitalist. 
He  has  also  played  with  distinction  in  London, 
Paris  and  Christiania.  His  compositions  have 
aroused  much  discussion.  He  has  been  re- 
ported as  saying : 

'What  are  discords?  I  cannot  tell.  Somewhere 
there  is  a  law  of  harmony.  Where  it  is,  what  it  is, 
I  cannot  tell,  only  I  know  that  under  certain  con- 
ditions and  at  certain  times  I  hear  it,  I  get  color- 
impressions,  if  you  wish.  If  some  of  the  tones  are 
gray,  somber,  violent,  is  that  my  fault?  Does  this 
prove  that  because  the  human  ear  has  been  trained 
to  certain  combinations  of  sound  only  those  sounds 
are  true  harmony?  It  is  not  so  to  me  nor  do  I  care 
whether  the  usage  of  musical  form  so  considers  it 
or  not.  In  a  word,  I  am  not  concerned  with  form 
or  with  standards  of  any  nature.' 

His  publications  to  date  include  piano-pieces, 
songs  and  a  sonata  for  violin  and  piano  (Carl 
Fischer,  Schott).  See  biography  by  F.  H. 
Martens,  1917,  and  article  by  Charles  L. 
Buchanan  in  'The  Musical  Quarterly,'  April, 
1918.     [  R.IO  ] 

ORPHEUS  CLUB,  THE,  of  Springfield, 
Mass.,  was  founded  by  Amos  Whiting  in 
1873  for  the  cultivation  of  music  for  men's 
voices.  Its  conductors  have  been  Louis 
Coenen  (1874-79),  George  W.  Sumner  (1879- 
90),  E.  Cutter,  Jr.  (1890-94),  Horatio  W. 
Parker  (1894-95)  and  John  J.  Bishop  (since 
1895).  Until  1908  the  average  number  of 
singers  was  about  40,  but  since  then  has  risen 
to  about  150.  Till  1890  there  were  four 
concerts  annually,   till   1900  three,   till   1905 


two,  and  lately  but  one.  The  total  number 
has  been  about  135.  Among  the  longer  works 
given  are  Grieg's  'Landerkennung,'  Buck's 
'King  Olaf's  Christmas'  and  'Paul  Revere's 
Ride,'  Paine's  'Phoebus,  arise!'  Whiting's 
'  March  of  the  Monks  of  Bangor,'  Foote's 
'Farewell  of  Hiawatha'  and  Baldwin's  'Hymn 
before  Action.' 

ORTH,  JOHN  (Dec.  2,  1850,  near  Ann- 
weiler,  Bavaria),  was  brought  to  Taunton, 
Mass.,  when  an  infant  and  there  gained  a 
public-school  education.  He  became  a  church- 
organist  at  twelve  and  in  1866-70  studied 
and  taught  in  Boston.  Five  years  in  Germany 
followed,  under  Kullak,  Lebert,  Pruckner, 
Deppe  and  Liszt  for  piano,  and  Faiszt,  Weitz- 
mann,  Kiel  and  Ph.  Scharwenka  for  theory 
and  composition.  Since  1875  he  has  been 
located  in  Boston  as  pianist  and  teacher. 
His  lecture-recitals  on  'With  Liszt  in  Weimar' 
have  made  him  well  known  as  a  Liszt  au- 
thority. He  has  published  a  number  of 
piano-pieces  and  done  much  editorial  work. 
He  has  also  devoted  time  and  attention  to 
humanitarian  and  reform  projects.  In  1883 
he  married  his  pupil  Lizette  E.  Blood  (d. 
Sept.  14,  1913,  Boston),  who  composed  many 
teaching-pieces  for  piano,  songs  and  operettas 
u.nder  the  name  L.  E.  Orth.     [  R.5  ] 

OSBORN,  A.  STANLEY,  See  Colleges, 
2  (Skidmore  Sch.,  N.  Y.). 

OSBORN,  JOHN  (d.  1835).    See  Register,  3. 

OSBORN-HANNAH,  JANE  (b.  1880?). 
See  Register,  9. 

OSGOOD,  EMMA  ALINE  (1849,  Boston 
:  Nov.  8,  1911,  Philadelphia),  came  of  old 
New  England  stock.  In  her  youth  she  sang 
at  the  Old  South  Church  in  Boston  and 
was  early  successful  in  oratorio  with  sing- 
ers like  Miss  Gary,  Whitney,  Fessenden  and 
Babcock  and  under  conductors  like  Zerrahn 
and  Thomas.  In  1873  she  toured  with  the 
Mendelssohn  Quintette  Club.  In  1875,  after 
study  with  Randegger  in  London,  she  appeared 
at  the  Crystal  Palace  under  Manns,  so  bril- 
liantly that  she  at  once  entered  on  an  English 
popularity  that  lasted  for  fifteen  years,  in- 
cluding engagements  under  all  the  leading 
conductors  and  at  first  performances  of  works 
like  Liszt's  'St.  Elizabeth'  and  Sullivan's 
'The  Light  of  the  World,'  besides  being  twice 
called  to  sing  before  Queen  Victoria.  Her 
early  visits  to  America  were  in  1878,  '80  and 
from  '81,  singing  repeatedly  at  the  Cincinnati 
and  other  Festivals,  and  establishing  herself 
as  a  favorite.  Her  voice  was  high,  but  rich 
in  quality,  her  enunciation  finished,  and  her 
interpretation  peculiarly  sympathetic  and 
effective.  After  giving  up  stage-work  she 
married  E.  Milton  Dexter  of  Philadelphia 
and  became  a  noted  teacher  there.  Nicholas 
Douty  is  one  of  her  pupils.     [  R.6  ] 


OSGOOD 


OWST 


319 


OSGOOD,  GEORGE  LAURIE  (Apr.  4, 
1844,  Chelsea,  Mass.),  as  a  child  was  gifted 
with  an  acute  sense  of  pitch  and  had  musical 
advantages  from  the  start.  In  1866  he 
graduated  with  honors  from  Harvard  Uni- 
versity, having  taken  organ  and  composition 
under  Paine  and  had  three  years'  service  as 
leader  of  the  college  orchestra  and  glee-club. 
Going  then  to  Berlin,  he  spent  three  years 
studying  composition  under  Haupt  and  singing 
under  Sieber,  besides  forming  an  intimacy 
with  Franz  at  Halle.  Then  followed  two 
more  years  developing  his  tenor  voice  under 
Francesco  Lamperti  in  Milan.  In  1871, 
beginning  at  Vienna,  he  made  a  concert-tour 
of  Germany,  interpreting  German  lieder  and 
old  Italian  songs,  and  in  1872  Thomas  engaged 
him  for  a  season's  tour  in  America  with  his 
orchestra.  In  1872  he  settled  in  Boston  and 
for  thirty  years  took  a  leading  part  in  all  its 
musical  affairs.  He  taught  many  successful 
singers,  gave  annual  series  of  chamber-concerts 
and  directed  many  choral  societies.  When 
made  director  of  the  Boylston  Club  in  1875 
he  reorganized  the  society  completely  and 
changed  it  from  a  men's  to  a  mixed  chorus. 
Later  it  was  known  as  the  Boston  Singers' 
Society  and  was  famous  for  excellent  programs 
and  brilliant  performances.  For  it  he  edited 
The  Boylston  Collection  (Ditson),  which  is 
still  widely  used,  and  also  translated  the 
texts  of  many  choral  works  and  songs.  Since 
1903  he  has  lived  abroad,  lately  at  Godalming, 
England.  His  compositions  are  songs,  anthems 
and  unaccompanied  choral  pieces.  His  Guide 
in  the  Art  of  Singing  has  had  several  editions, 
and  a  new  work.  Mind  and  Melody,  is  nearly 
ready  for  the  press.     [  R.6  ] 

O'SHEA,  JOHN  AUGUSTINE  (Oct.  15, 
1864,  Milford,  Mass.),  after  public-school 
training  in  1885  graduated  from  the  New 
England  Conservatory  in  Boston  and  in  1887 
from  the  music-department  of  Boston  Uni- 
versity. He  is  now  music-director  in  the 
Boston  public  schools  and  organist  at  St. 
Cecilia's.  He  is  a  member  of  the  A.  G.  O. 
and  the  N.  A.  O.,  and  has  given  many  in- 
augural organ-recitals  throughout  the  country. 
He  played  at  the  Buffalo  Exposition  in  1901 
and  the  St.  Louis  Exposition  in  1904,  at  the 
latter  being  on  the  international  jury  of 
awards  in  the  music-section.  His  com- 
positions include  a  string-quartet  (medal  at 
Boston    University),   trios    for    piano,  violin 


and  'cello ;  a  Mass  in  F  and  a  Mass  in  honor 
of  St.  Cecilia ;  a  Barcarolle,  '  Venetian  Nights,' 
for  piano;  the  operetta  'Mother  Goose'; 
the  comic  opera  '  The  Mirrors  of  Thule ' ;  and 
many  songs.     [  R.7  ] 

'OSTROLENKA.'  An  opera  by  Johann 
H.  Bonawitz,  produced  in  1875  in  Philadelphia. 

O'SULLIVAN,  DENIS  (1868-1908).  See 
Vol.  iii.  571-2,  and  Register,  8. 

'  OTHO  VISCONTL'  A  romantic  opera  in 
three  acts  by  Frederick  G.  Gleason,  who  also 
wrote  the  libretto.  The  overture  was  played 
at  the  Gewandhaus  in  Leipzig  in  1892  and  by 
Thomas  in  Chicago.  The  work  as  a  whole  was 
given  in  the  College  Theatre  in  Chicago  on 
June  4,  1907. 

OTIS,  PHILO  ADAMS  (b.  1846).  See  Reg- 
ister, 6. 

OTTAWA  CHORAL  SOCIETY,  THE,  of 
Ottawa,  Ont.,  was  founded  in  1897  by  J. 
Edgar  Birch,  who  has  been  its  only  conductor. 
Besides  several  of  the  standard  oratorios, 
it  has  given  many  shorter  works,  including 
the  first  performance  in  America  of  Coleridge- 
Taylor's  'Hiawatha's  Wedding-Feast,'  Mac- 
kenzie's 'The  Dream  of  Jubal'  (conducted  by 
the  composer),  etc. 

OTTERSTROM,  THORVALD  (July  17, 
1868,  Copenhagen,  Denmark),  studied  first 
in  Copenhagen  and  then  with  Sophie  Menter 
at  Petrograd.  In  1892  he  came  to  Chicago, 
where  he  has  since  been  diligent  as  teacher 
and  composer.  His  piano-works  have  had 
frequent  performances  in  America  and  abroad, 
many  of  them  introduced  by  Mrs.  Zeisler 
and  by  Ganz,  and  the  Chicago  Orchestra  has 
given  several  of  his  orchestral  works.  He 
has  published  a  quintet  for  piano  and  strings, 
24  preludes  and  fugues  for  piano,  7  concert- 
studies  for  piano,  'The  Spinning- Wheel'  for 
piano,  and  about  30  songs.  He  has  also 
written  an  orchestral  '  Canon,  Choral  and 
Fugue,'  an  'American  Negro'  Suite,  a  violin- 
sonata  in  G  minor,  a  'cello-sonata  in  C  minor, 
11  canons  and  a  fugue  on  a  theme  by  Grieg 
for  piano,  11  symmetric  double  crab-canons 
for  piano,  the  collection  of  piano-pieces 
'Shifting  Moods,'  43  Negro  slave-songs 
harmonized  for  chorus,  'Musical  Pictures 
of  Chippewa  Indian  Life,'  and  a  series  of  27 
tribal  songs  arranged  for  piano  with  scenario 
by  Alice  Gerstenberg.     [  R.8  ] 

OWST,  WILBERFOSS  GEORGE  (b.  1861). 
See  Register,  8. 


PACHE,  JOSEPH  (June  1,  1861,  Friedland- 
bei-Waldenburg,  Germany),  studied  at  the 
Munich  Conservatory  in  1879-83,  pursued 
piano  with  Klindworth  in  Berlin  in  1883-85 
and  composition  with  Bruch  in  Breslau  in 
1885-86,  besides  having  lessons  from  Barth 
(piano)  and  Hey  (singing).  Coming  to  New 
York  in  1891,  he  taught  for  a  year  at  the  New 
York  College  of  Music,  and  conducted  choruses 
in  New  York,  Newark  and  Trenton,  N.  J.  In 
1894  he  went  to  Baltimoi-e  as  conductor  of  the 
Baltimore  Oratorio  Society,  a  post  which  he 
still  holds.  He  founded  the  Women's  Philhar- 
monic chorus  in  Baltimore,  and  for  seven  years 
conducted  the  York  (Pa.)  Oratorio  Society. 
He  has  composed  songs  and  choruses.      [  R.8  ] 

PACHELBEL,  CHARLES  THEODORE. 
See  Register,  1. 

PACKARD,  J.  B.     See  Tune-Books,  1842. 

PADELFORD,  FREDERICK  MORGAN 
(b.  1875).     See  Register,  8. 

PADEREWSKI,  IGNACE  JAN  (Nov. 
6,  1860,  Kurilovka,  Russian  Poland).  See 
article  in  Vol.  iii.  587-8.  His  first  appearance 
in  America  was  at  Carnegie  Hall  in  New  York 
on  Nov.  17,  1891,  and  during  the  six  months 
following  he  played  in  117  concerts.  On 
his  second  American  tour  (1892-93)  he  gave 
67  concerts  in  26  cities.  These  visits  were 
followed  by  others  in  1895-96,  1900-01, 
1901-02,  1907-08,  1913-14,  and  a  final  series 
of  30  recitals  beginning  in  1915-16.  In 
August,  1915,  he  played  at  the  San  Francisco 
Exposition  for  the  Polish  Victims'  Relief 
Fund,  his  first  professional  appearance  as 
pianist  after  the  war  began.  He  presently 
gave  up  music  for  notable  efforts  in  behalf  of 
Poland.  In  addition  to  raising  large  sums 
of  money,  in  1917  he  offered  the  United  States 
an  army  of  100,000  Poles  and  50  trained 
oflBcers.  As  soon  as  conditions  permitted 
he  went  to  Poland,  accompanied  by  his 
friend  Ernest  Schelling,  the  pianist.  He 
was  there  elected  premier  on  Jan.  26,  1919, 
and  a  month  later  the  Allied  Council  at  Paris 
recognized  the  Polish  Republic  under  his 
leadership.  He  relinquished  his  ofHce  in  1920, 
but  has  continued  politically  influential. 

His  opera  'Manru,'  produced  at  Dresden 
in  1901,  was  given  at  the  Metropolitan  Opera 
House  in  New  York  on  Feb.  14,  1902.  His 
symphony  in  B  minor,  op.  24,  composed  in 
1904-08,  was  brought  out  by  the  Boston 
Symphony  Orchestra  on  Feb.  13,  1909,  Max 
Fiedler  conducting.  The  three  movements 
are  in  commemoration  of  Poland,  and  the 
third  movement  refers  to  the  Polish  uprising 
of  1863-64.  It  is  said  that  he  has  deferred 
completing    a    fourth    movement    until    his 


country  is  free.  Other  works  are  a  Sonata 
in  E-flat  minor,  op.  21,  and  Variations  and 
Fugue,  op.  23,  both  for  piano.  His  second 
opera,  'Sakuntala,'  text  by  CatuUe  Mendes, 
has  not  yet  been  produced.  See  biographies 
by  Finck,  1895,  Mossig  (Leipzig)  and  Bau- 
ghan,  1907,  besides  numerous  accounts  in 
magazines  and  general  treatises.  In  addition 
to  his  estate  at  Morges,  Switzerland,  he  owns 
two  others  near  Paso  Robles,  Cal.     [  R.8  ] 

PAGE,  NATHANIEL  CLIFFORD  (Oct. 
26,  1866,  San  Francisco),  inherited  musical 
aptitude  from  his  mother,  a  poetess  of  some 
note  and  an  amateur  musician.  At  fourteen 
the  cornet  attracted  his  attention,  later  giving 
way  to  the  French  horn.  But  even  earlier 
he  had  essayed  composition  and  the  writing 
of  libretti.  The  study  of  harmony  was  taken 
up  under  local  teachers,  but  in  orchestration 
he  has  been  entirely  self-taught,  gaining 
experience  by  playing  in  and  directing  or- 
chestras. His  light  opera,  'The  First  Lieu- 
tenant,' was  successfully  produced  at  the 
old  Tivoli  Opera  House  in  San  Francisco 
in  May,  1889.  Seeking  a  wider  field,  he  came 
to  New  York  in  1895,  and  in  1896  directed 
his  Petite  Suite,  'Village  Scenes,'  for  the 
Manuscript  Society  in  Chickering  Hall.  In 
1899  he  was  called  to  London  to  conduct  his 
incidental  music  to  'The  Moonlight  Blossom' 
at  the  Prince  of  Wales  Theatre.  This  and 
incidental  music  to  'A  Japanese  Nightin- 
gale' (produced  in  1903  at  Daly's  Theatre, 
New  York)  were  based  on  real  Japanese 
themes.  He  has  studied  and  worked  in  various 
branches  of  Oriental  music  —  Japanese,  Chi- 
nese, Arabian,  etc.  After  composing  and  di- 
recting musical  comedies,  in  1905  he  joined 
the  editorial  staff  of  the  Ditson  Company  in 
Boston,  but  in  1910  returned  to  New  York 
to  devote  his  time  to  composition.  His 
later  works  include  the  operas  and  cantatas 
'The  Contest  of  the  Nations'  (1913),  'Alice 
in  Wonderland,'  'Old  Plantation-Days'  and 
'Lord  Howe's  Masquerade,'  'A  Mood  of 
Spring'  for  piano,  and  numerous  songs.  He 
has  revised  and  edited  Home-Songs,  Irish 
Songs,  Stephen  C.  Foster  Songs,  Panseron's 
A  B  C  of  Music,  and  several  hundred  pieces 
in  sheet-form.  Unpublished  are  'The  First 
Lieutenant,'  'Carlotta,'  'Villiers,'  'Zorahda,' 
'The  President'  and  several  musical  comedies; 
incidental  music  to  'The  Cat  and  the  Cherub,' 
'The  Ghetto,'  'The  Moonlight  Blossom,' 
'A  Japanese  Nightingale,'  'Joan  of  the  Sword- 
Hand'  ;  the  orchestral  'Dream  Suite,'  'Village 
Scenes,'  'Fantasie  Symphonique  on  a  Short 
Theme,'  'Romance'  and  'Chop  Suey'  (Chi- 
nese Humoresque) ;  and  many  songs.     [  R.7  ] 


320 


PAGEANTS 


PARKER 


321 


PAGEANTS.  HISTORICAL.  The  de- 
velopment of  symbolic  celebrations  in  England 
from  1905  under  the  lead  of  Gilbert  Parker 
inspired  numerous  efforts  of  a  somewhat 
similar  kind  in  America.  The  most  active 
worker  has  been  William  Langdon,  seconded 
by  Arthur  Farwell.  Since  1908  hardly  a  year 
has  been  without  some  significant  undertaking 
in  which  local  history  is  commemorated 
through  a  dramatic  spectacle  with  the  aid  of 
poetry  and  music.  (For  a  list  of  Langdon's 
productions,  see  Register,  10.)  All  the  great 
Expositions  have  included  features  of  this 
general  sort,  and  many  civic  functions  have 
been  elaborate.  There  has  been  a  tendency, 
especially  in  Langdon's  work,  to  emphasize 
the  merely  spectacular  elements  less  and  to 
mold  the  poetic  and  musical  into  better 
unity.  This  has  been  specially  notable  in 
some  celebrations  held  at  large  educational 
institutions.  See  The  Art  of  Music,  iv.  pp. 
226-9. 

PAILLARD,  M.  J.  (d.  1868).  See  Register, 
4. 

PAILLARD  COMPANY,  THE  M.  J.,  of 
New  York,  was  the  American  representative  of 
the  noted  makers  of  music-boxes  in  Ste.-Croix, 
Switzerland  (founded  in  1814).  The  New 
York  house  was  established  in  1850  by  M.  J. 
Paillard,  a  grandson  of  the  original  founder, 
at  first  as  Paillard  &  Martin.  Its  business 
was  greatly  developed  by  his  nephew  and  son. 
See  Jones,  Handbook  of  American  Music,  p. 
126. 

PAINE,  DAVID.     See  Tune-Books,  1839. 

PAINE,  JOHN  KNOWLES  (Jan.  9,  1839, 
Portland,  Me.  :  Apr.  25,  1906,  Cambridge, 
Mass.).  See  Vol.  iii.  596-7.  Add  to  hst  of 
works  the  string-quartet,  op.  5 ;  the  piano- 
trio,  op.  22 ;  the  sonata  for  violin  and  piano, 
op.  24 ;  the  Larghetto  and  Scherzo,  op.  32, 
for  'cello  and  piano ;  and  the  '  Duo  Con- 
certante'  in  A,  op.  33,  for  violin,  'cello  and 
orchestra ;  besides  many  piano-pieces,  varia- 
tions and  fantasias  for  organ,  and  vocal  works. 
His  lectures  were  posthumously  edited  by 
Albert  A.  Howard  as  The  History  of  Music  to 
the  Death  of  Schubert,  1907.     [  R.5  ] 

PAINE,  RICHMOND  PECK  (Mar.  24, 
1858,  New  Bedford,  Mass.),  began  as  a  choir- 
boy and  by  1872  was  a  regular  organist.  He 
had  thorough  training  in  technique  and  com- 
position from  N.  H.  Allen,  then  organist  in 
New  Bedford,  and  began  recital-playing  about 
1876.  In  1878  he  succeeded  Henry  Wilson 
as  organist  at  Christ  Church  in  Hartford, 
Conn.,  from  1880  occupied  the  leading  position 
at  Meriden,  and  from  1885  a  similar  post  at 
New  Britain,  where  he  remained  twenty 
years.  Thus  was  satisfied  his  original  ambition 
of  winning  eminence  as  a  church-  and  concert- 
organist.  From  1883  he  was  associated  with 
T 


W.  S.  Pratt  at  Hartford  in  developing  an 
oratorio  society,  succeeding  to  the  leadership 
there  in  1892  and  continuing  ten  years  with 
great  success.  As  early  as  1885,  however, 
he  had  begun  similar  work  elsewhere,  which 
gradually  extended  until  he  had  led  superior 
choral  performances  in  many  places  in  Con- 
necticut, such  as  Winsted,  Middletown,  New 
Britain,  Southington,  Wallingford  and  Wil- 
limantic,  and  in  Pittsfield,  Mass.,  often 
managing  festivals  with  combined  choirs. 
In  1905  he  was  called  to  conduct  the  exten- 
sive choral  enterprise  of  Carl  Stoeckel  at  Nor- 
folk, Conn,  (see  Litchfield  County  Choral 
Union),  where  he  continued  with  increasing 
renown  until  1915.  Since  his  retirement  he 
has  lived  at  Norfolk.  He  is  highly  gifted  as  an 
executive  musician,  with  a  notable  genius  for 
choral  leadership.  His  long  experience,  infalli- 
ble taste  and  high  ideals  have  given  him 
an  enviable  influence  and  reputation.  It  is 
unfortunate  that  he  has  not  chosen  to  express 
himself  in  composition.     [  R.6  ] 

PALFREY,  WARWICK.  See  Tune-Books, 
1802. 

PALLISER,  ESTHER  (b.  1872).  See  Reg- 
ister, 8. 

PALMER,  HORATIO  RICHMOND  (Apr. 
26,  1834,  Sherburne,  N.  Y.  :  Nov.  15,  1907, 
Yonkers,  N.  Y.),  was  brought  up  in  a  musical 
family  and  became  organist  at  seventeen. 
He  studied  at  the  Rushford  Academy  of  Music 
in  New  York,  becoming  director  in  1857,  and 
also  in  Berlin  and  Florence.  In  1861  he  settled 
in  Chicago,  where  he  established  the  magazine 
'Concordia'  in  1866,  and  published  The  Song- 
Queen,  1867  (over  200,000  sold)  and  The  Song- 
King,  1871  (also  an  enormous  sale) .  In  1874  he 
removed  to  New  York,  and  in  1881  took  charge 
of  the  Church  Choral  Union.  This  organi- 
zation, for  the  improvement  of  church-music, 
grew  to  over  4000  singers  in  its  third  season. 
In  1887  he  became  Dean  of  the  School  of 
Music  at  Chautauqua,  N.  Y.,  continuing 
until  1891.  He  was  made  Mus.D.  by  the 
(old)  University  of  Chicago  in  1880  and  by 
Alfred  University  in  1881.  Of  his  many 
choral  collections,  besides  those  named  above. 
The  Song-Herald  and  Concert-Choruses  were 
specially  successful.  He  wrote  a  Theory  of 
Music,  1876,  a  Manual  for  Teachers  (public- 
school  music),  etc.     [  R.4  ] 

PALMER,  JAMES  W.  See  Tune-Books, 
1832. 

PANIZZA,  ETTORE  (b.  1875).  See  Regis- 
ter, 8. 

PARKER,  FLETCHER  ANDREW  (b. 
1842).  See  Register,  5,  and  State  Universi- 
ties (Wis.). 

PARKER,  GEORGE  ALBERT  (b.  1856). 
See  Register,  7,  and  Colleges,  3  (Syracuse  U., 
N.  Y.). 


322 


PARKER 


PARSONS 


PARKER,  HENRY  TAYLOR  (b.  1867). 
Sgg  RiGffistGr  Q 

PARKER,  HORATIO  WILLIAM  (Sept. 
15,  1863,  Auburndale,  Mass.  :  Dec.  18,  1919, 
Cedarhurst,  N.  Y.).  See  article  in  VoL  iii. 
622-3.  He  remained  at  the  head  of  the  Yale 
School  of  Music  till  his  death,  but  gave  up 
conducting  the  New  Haven  Symphony  Or- 
chestra in  1919.  In  both  positions  he  was 
succeeded  by  David  Stanley  Smith.  For 
some  time  his  health  had  not  been  good,  but 
his  death  was  due  to  a  sudden  illness  while 
on  the  way  to  the  South.  The  list  of  works 
should  be  extended  to  include 

op.  62  'Crfipuscule,'  for  mezjiO-Boprano  and  or- 
chestra. 

63  'The  Shepherd's  Vision.' 

64  Ballad,  'King  Gorm  the  Grim,'  for  chorus 

and  orchestra. 

65  Sonata  in  E-flat,  for  organ. 

66  Songs  for  high  schools. 
67-8     Nine  Organ-Pieces. 

69  'The  Norsemen's  Raid,'  for  men's  chorus 

and  orchestra. 

70  Seven  Songs. 

71  Opera,  'Mona,'  libretto  by  Brian  Hooker 

(prize  of  $10,000  from  the  Metropolitan 
Opera  House,  given  there  Mar.  14,  1912). 

72  'Collegiate'  Overture. 

73  Cantata,  'A  Song  of  the  Times.' 

74  Seven    'Greek    Pastoral    Scenes,'    for    so- 

prano, alto,  women's  chorus,  oboe, 
harp  and  strings. 

75  Ballad,  'The  Leap  of  Roushan  Beg,'  for 

tenor,  men's  chorus  and  orchestra. 

76  Songs  (not  published). 

77  Opera,     'Fairyland,'     libretto    by    Brian 

Hooker  (prize  of  $10,000  from  the  Na- 
tional Federation  of  Women's  Clubs, 
given  at  Los  Angeles,  July  1,  1915). 

78  Books  of  public-school  music. 

79  Oratorio,   'Morven  and  the  Grail.' 

80  Masque,    'Cupid   and    Psyche,'    for   50th 

anniversary  of  the  Yale  Art  School, 
June,  1916. 

81  Music  for  the  Yale  Pageant,  October,  1916. 

82  Cantata,  'The  Dream  of  Mary,'  for  soli, 

chorus  and  orchestra  (1918,  Norfolk 
Festival). 

83  'Red    Cross    Hymn,'    for    contralto    and 

orchestra. 

84  '  A.  D.  1919,'  for  soprano  and  chorus. 

He  also  published  Music  and  Public  Enter- 
tainment, 1911.     [  R.7  ] 

PARKER,  JAMES  CUTLER  DUNN 
(June  2,  1828,  Boston  :  Nov.  27,  1916, 
Brookline,  Mass.),  studied  law  in  Boston  for 
three  years  after  graduating  from  Harvard 
in  1848.  Then  his  preference  for  music  led 
him  to  go  in  1851  to  Leipzig,  where  he  spent 
three  years,  studying  piano  with  Moscheles 
and  Plaidy,  harmony  with  Richter  and  Rietz. 
Returning  in  1854,  he  was  active  in  Boston 
for  over  half  a  century,  retiring  in  1912.  In 
1864-91  he  was  organist  at  Trinity  Church, 
organist  of  the  Handel  and  Haydn  Society, 
in  1871-97  teacher  of  piano,  organ  and  har- 
mony at  the  New  England  Conservatory,  and 


for  a  time  at  Boston  University.  As  Elson 
remarks,  '  the  pupils  graduated  during  his  long 
era  of  activity  would  form  a  good-sized  regi- 
ment.' Among  them  are  Arthur  Whiting, 
A.  D.  Turner,  H.  M.  Dunham,  C.  H.  Morse  and 
H.  C.  Macdougall.  His  works  included  the 
'Redemption  Hymn'  (1877),  for  soli,  chorus 
and  orchestra ;  a  secular  cantata,  '  The  Blind 
King';  the  cantata  'St.  John';  the  oratorio 
'The  Life  of  Man' ;  church-music;  and  piano- 
pieces.     [  R.4  ] 

PARKHURST,  HOWARD  ELMORE 
(1848-1916).     See  Register,  7. 

PARKINSON,  ELIZABETH  ['Parkina'] 
(b.  1882).     See  Register,  9. 

PARLOW,  IvATHLEEN  (Sept.  20,  1890, 
Calgary,  Alberta),  was  taken  as  a  child  to  San 
Francisco,  where  she  had  violin-lessons  with 
her  cousin,  Mr.  Conrad,  and  later  with  Henry 
Holmes.  Her  first  public  performance  there 
was  at  the  age  of  six.  On  March  23,  1905, 
she  gave  her  first  recital  at  Bechstein  Hall 
in  London,  later  appeared  with  the  London 
Symphony  Orchestra,  and  was  also  bidden 
to  play  before  the  Queen.  She  studied  with 
Auer  in  Petrograd  in  1906-07,  and  subse- 
quently played  in  Russia,  Scandinavia,  Ger- 
many, Holland  and  Belgium.  Her  first  ap- 
pearance on  her  return  to  America  was  late  in 
1910,  when  she  played  the  Tchaikovsky  con- 
certo with  the  Russian  Symphony  Orchestra. 
She  has  since  made  several  tours,  appearing 
with  the  principal  orchestras.     [  R.IO  ] 

t  PARRY,  CHARLES  HUBERT  HAST- 
INGS (Feb.  27,  1848,  Bournemouth,  England 
:  Oct.  7,  1918,  Rustington,  near  Little- 
hampton,  England).  See  articles  in  Vol.  iii. 
624-7  and  v.  657.  Mention  should  be  made 
of  his  late  works,  'A  Hymn  to  the  Nativity' 
(1912,  Hereford),  the  English  'Te  Deum' 
(1913,  Gloucester),  and  a  5th  Symphony, 
in  B  minor.  He  published  Style  in  Musical 
Art,  1911,  and  wrote  the  introduction  to  The 
Art  of  Music,  1914.  During  the  war  much 
of  his  time  and  energy  was  devoted  to  the 
Council  for  the  Relief  of  the  Professional 
Classes,  and  other  charities.  His  funeral 
was  at  St.  Paul's  on  Oct.  16,  1918.  In  the 
language  of  Hadow,  'There  was  no  side  of 
musical  life  in  England  which  was  not  the 
better  and  nobler  because  he  had  lived.' 

PARSONS,  ALBERT  ROSS  (Sept.  16, 
1847,  Sandusky,  O.),  was  musically  pre- 
cocious, playing  the  organ  in  public  at  nine 
and  about  1860  being  a  regular  organist  in 
Indianapolis.  From  1863  he  began  serious 
study  with  Ritter  in  New  York,  and  in  1867-69 
was  under  Moscheles,  Wenzel,  Reinecke, 
Papperitz  and  Richter  at  Leipzig,  and  in 
1870-72  with  Tausig,  Kullak  and  Weitzmann 
at  Berlin.  Since  1872  he  has  been  one  of  the 
best-known    piano-teachers    in    New    York. 


PASMORE 


PEABODY  CONSERVATORY   323 


For  four  years  he  was  organist  at  Holy  Trinity 
and  for  nine  at  the  Fifth  Avenue  Presbyterian 
Church.  In  1890  he  was  president  of  the 
M.  T.  N.  A.  and  in  1893-1903  of  the  American 
College  of  Musicians.  From  1885  he  was  head 
of  the  piano-department  in  the  Metropolitan 
College  of  Music,  continuing  later  with  the 
American  Institute  of  Applied  Music.  He 
was  an  early  advocate  of  Wagner  in  America, 
translating  his  Beethoven  (1870)  and  writing 
Parsifal,  or  the  Finding  of  Christ  through  Art, 
1893.  He  has  also  translated  Lessmann's 
Liszt,  published  The  Science  of  Piano-Practice, 
1893,  edited  in  English  the  KuUak  edition  of 
Chopin  and  the  Hollander  edition  of  Schu- 
mann, and  written  much  on  archaeology  and 
genealogy  as  well  as  music.  He  has  com- 
posed songs  and  piano-pieces.     [  R.6  ] 

PASMORE,  HENRY  BICKFORD  (June 
27,  1857,  Jackson,  Wis.),  after  studying  organ 
and  theory  in  San  Francisco  with  J.  P.  Morgan 
and  singing  with  S.  J.  Morgan,  went  abroad 
in  1882.  In  Leipzig  he  took  composition  with 
Jadassohn  and  Reinecke,  singing  with  Frau 
Unger-Haupt,  and  in  London  singing  with 
Shakespeare  and  Cummings.  Returning  to 
San  Francisco,  he  became  organist  at  St.  John's 
and  teacher  of  voice  and  composition  at  the 
University  of  the  Pacific  in  San  Jose.  He 
has  composed  an  overture,  'Miles  Standish,' 
a  'Conclave  March,'  and  the  tone-poem 
'Gloria  California,'  two  operas,  a  Mass  in 
B-flat,  smaller  choral  works  with  orchestra, 
numerous  songs  and  part-songs.  He  assisted 
in  translating  Jadassohn's  Harmonielehre. 
His  three  daughters,  Mary,  Suzanne  and 
Dorothy,  constitute  the  Pasmore  Trio,  which 
has  given  many  recitals  in  the  West.     [  R.7  ] 

PASTERNACK,  JOSEF  ALEXANDER 
(b.  1881).     See  Register,  8. 

X  PATTI,  ADELINA  (Feb.  10,  1843,  Ma- 
drid, Spain  :  Sept.  27,  1919,  Craig-y-Nos, 
Wales).     See  article  in  Vol.  iii.  654-5. 

PATTISON,  JOHN  NELSON  (1845-1905). 
See  Register,  5. 

PATTON,  WILLARD  (May  26,  1853, 
Milford,  Me.),  early  studied  with  his  father 
and  other  local  teachers,  and  with  Buck, 
Bassini,  Errani  and  Kohlmann,  appearing 
as  tenor  from  1871  and  leading  a  choral 
society  in  Bangor  from  1875.  His  first 
operetta,  'The  Gallant  Garroter,'  was  pro- 
duced in  1882.  Since  1883  he  has  taught  in 
Minneapolis,  where  for  some  years  he  had 
charge  of  the  music-department  of  Hamline 
University,  founded  and  led  the  Philharmonic 
Club  for  four  years,  and  was  president  of  the 
local  teachers'  association  and  its  examiner. 
His  oratorio,  'Isaiah'  (Ditson),  was  brought 
out  in  1895  and  often  given  since.  He  has 
also  published  the  cantatas  'The  Call  of 
Spring'    (Lloyd),    'Summer'    (Fischer),    both 


for  women's  voices,  and  the  festival  'Usona' 
(Lloyd),  anthems  and  sacred  quartets  (Moli- 
neaux,  Dyer),  male  quartets  (Gordon),  and 
several  series  of  songs  (Lloyd,  Nonpareil  Ed.). 
He  has  also  produced  the  light  opera  'La 
Fianza'  (1888),  the  opera  'Pocahontas,'  the 
musical  epic  'The  Star  of  Empire,'  the  concert- 
ode  'Foot-stones  of  a  Nation,'  the  symphonic 
fantasia  'The  Spirit  of  '61,'  the  cantata  'The 
Atonement,'  a  Festival  Te  Deum  in  D-flat, 
a  'Tennyson  Cycle'  (eight  songs  from  'The 
Princess'),  etc.     [  R.6  ] 

PAULI,  H.  L.  See  Colleges,  2  (Hollins 
C,  Va.). 

PAULIN,  NOAH  E.  See  Colleges,  3 
(Pacific  Union  C,  Cal.). 

PAUR,  EMIL  (Aug.  29,  1855,  Czernowitz, 
Bukovina).  See  article  in  Vol.  iii.  658.  In 
1899  and  1900  he  conducted  Wagner  operas  at 
the  Metropolitan  Opera  House.  His  con- 
nection with  the  National  Conservatory  ran 
till  1902.  In  1904-10  he  was  conductor  of 
the  Pittsburgh  Symphony  Orchestra,  then 
returning  again  to  Europe.  In  1912-13  he 
was  head  of  the  Opera  at  Berlin,  where  he  has 
since  lived.  His  symphony  'In  der  Natur' 
(Leuckart)  was  first  given  by  the  Pittsburgh 
Orchestra  in  1909,  and  at  the  same  concert 
he  played  Brahms'  piano-concerto  in  B-flat. 
He  has  also  composed  a  string-quartet,  a 
violin-concerto,  a  sonata  for  violin  and  piano, 
and  piano-pieces.     [  R.8  ] 

PEABODY  CONCERTS.  See  Vol.  iii. 
660,  and  next  article. 

PEABODY  CONSERVATORY,  THE,  of 
Baltimore,  is  a  constituent  part  of  the  Peabody 
Institute,  founded  by  George  Peabody  in  1857, 
which  also  includes  a  great  Library  and  a 
fine  Art  Museum.  The  enterprise  did  not 
become  actual  till  after  the  Civil  War,  and  the 
Conservatory  was  not  opened  till  1868.  Its 
directors  have  been  Lucien  H.  Southard  in 
1868-71,  Asger  Hamerik  in  1871-98,  and 
Harold  Randolph  since  1898.  Part  of  the 
Conservatory  system  is  the  maintenance  of 
the  Peabody  Orchestra,  of  which  its  director 
is  conductor.  Hamerik  raised  these  concerts 
into  artistic  importance,  and  Randolph  has 
been  signally  successful  in  developing  the 
efficiency  of  the  Conservatory  proper.  The 
faculty  numbers  over  75.  The  number  of 
pupils  is  more  than  1700  annually,  and  about 
11,500  since  the  beginning.  Instruction  is 
given  in  every  branch  of  musical  art,  with  some 
language-courses  besides.  Since  about  1900 
a  distinct  preparatory  department  has  been 
in  operation,  of  which  May  G.  Evans  has  been 
superintendent.  There  are  three  student- 
orchestras,  with  over  100  members,  and 
choruses  with  over  200  members.  The  opera- 
class  presents  several  operas  each  year.  The 
Conservatory  has  an  arrangement  with  the 


324 


PEACE  JUBILEES 


PENFIELD 


Johns  Hopkins  University  whereby  candidates 
for  the  B.S.  degree  in  the  latter  may  pursue 
certain  courses  in  the  former.  It  also  offers 
courses  which  are  counted  for  credit  in  the 
Baltimore  public  schools.  Students  in  the 
Conservatory  have  the  chance  of  attending 
over  250  recitals  and  concerts  each  year, 
including  20  artist-recitals  and  about  15 
organ-recitals.  The  library  contains  nearly 
2500  volumes,  and  the  institution  owns  many 
instruments,  including  5  organs  and  a  full 
set  of  orchestral  instruments.  It  occupies 
a  large  part  of  the  Institute  Building  on  Monu- 
ment Square  and  also  three  annex-houses. 

PEACE  JUBILEES,  THE,  were  large 
popular  festivals  planned  and  directed  by 
the  band-master  P.  S.  Gilmore  and  held  in 
Boston.  The  first,  in  1869,  was  meant  to 
celebrate  the  return  of  peace  after  the  Civil 
War.  There  was  an  orchestra  of  1000  and 
a  chorus  of  10,000,  with  many  other  sensational 
features.  The  second,  in  1872,  based  on  the 
idea  of  'world  peace,'  was  still  more  unwieldy 
and  spectacular  in  design.  The  first  was 
effective  in  arousing  genuine  popular  en- 
thusiasm, but  the  second  was  much  less 
Bignificant,  though  more  pretentious.  In 
1873  Gilmore  held  another  Jubilee  at  Chicago 
in  celebration  of  its  rebuilding  after  the  fire 
of  1871.  See  Gilmore,  History  of  the  National 
Peace  Jubilee  and  Great  Musical  Festival,  1877, 
Upton,  Musical  Memories,  pp.  194-205,  etc. 
PEARCE,  STEPHEN  AUSTEN  (Nov.  7, 
1836,  London,  England  :  Apr.  9,  1900,  Jer- 
sey City,  N.  J.),  after  study  with  J.  L.  Hop- 
kins, graduated  Mus.B.  at  Oxford  in  1859 
and  Mus.D.  in  1864.  He  held  organ-ap- 
pointments at  London  churches,  visited  the 
United  States  and  Canada  in  1864,  and 
returned  to  London  to  give  recitals  at  the 
Hanover  Square  Rooms  and  elsewhere.  In 
1872  he  came  to  New  York,  where  he  was 
long  active  as  organist,  lecturer  and  writer. 
His  organ-positions  were  at  St.  Andrews', 
St.  George's,  St.  Stephen's  (R.C.),  Zion, 
Ascension,  Fifth  Avenue  Collegiate  (Ref. 
Dutch),  and  at  the  First  Presbyterian  Church 
in  Jersey  City.  He  taught  vocal  music  at 
Columbia  College,  harmony  and  composition 
at  the  New  York  College  of  Music,  lectured 
at  the  General  Theological  Seminary  in  New 
York,  at  the  Peabody  Institute  and  Johns 
Hopkins  University  in  Baltimore,  and  gave 
lectures  and  recitals  in  many  other  cities. 
From  1874  he  was  musical  editor  of  the  New 
York  'Evening  Post,'  and  contributed  to  'The 
Musical  Courier,'  the  Encyclopcedia  Americana 
and  various  periodioals.  He  edited  a  Dic- 
tionary of  Musical  Terms  in  21  Languages, 
piano-music,  and  much  church-music.  He 
composed  the  three-act  children's  opera  'La 
Belle    Am6ricaine, '     the     oratorio     'Celestial 


Visions,'  the  cantata  'The  Psalm  of  Praise,' 
an  overture,  an  'Allegro  Agitato'  (Thomas 
Orchestra),  songs  and  pieces  for  piano  and 
organ.     [  R.5  ] 

PEARSON,  HENRY  WARD  (b.  1878). 
See  Colleges,  2  (Hood  C,  Md.). 

PEASE,  ALFRED  HUMPHRIES  (1838- 
1882).     See  Register,  5. 

PECK,  DANIEL  L.  See  Tune-Books, 
1810. 

PEDRELL,  CARLOS  (Oct.  16,  1878,  Mi- 
nas,  Uruguay),  a  nephew  of  the  Spanish  com- 
poser and  musicologist  Fehpe  Pedrell,  be- 
gan studies  in  Montevideo,  continuing  with 
his  uncle  in  1898-1900,  and  then  entering  the 
Schola  Cantorum  in  Paris,  where  his  masters 
were  Pierre  de  Breville  and  d'Indy.  Since 
1906  he  has  been  located  in  Buenos  Aires, 
where  he  is  inspector  of  music  in  the  schools, 
lecturer  at  the  University  of  Tucuman,  and 
advisor  for  the  Consejo  Nacional  de  Edu- 
cacion  on  the  national  hymn,  folk-songs, 
and  musical  policies  generally.  In  1915  he 
founded  the  Sociedad  Nacional  de  Miisica, 
including  a  group  of  composers.  His  opera 
'  Ardid  de  Amor'  was  given  six  times  in  Buenos 
Aires  in  1917.  A  second  opera  is  'Cuento  de 
Abril.'  Symphonic  works  are  'Une  Nuit  de 
Scheherazade'  (1908),  'Danza  y  Cancion 
de  Aixa'  (1910),  'En  el  Estrado  de  Beatriz' 
(1910),  'Fantasia  Argentina'  (1910)  and 
'Ouverture  Catalane'  (1912).  These  have 
been  repeatedly  performed,  especially  in  the 
series  at  the  Colon  under  Andr6  Messager 
in  1916.  He  has  also  composed  about  60 
songs  (26  published),  many  with  orchestral 
accompaniment,  four  choruses  with  orchestra, 
and  three  a  cappella,  besides  publishing  over 
50  transcriptions  and  adaptations  for  school- 
use.  His  wife,  Suzanne  S.  de  Pedrell  (b. 
Sept.  15,  1892,  Meing-sur-Loire,  France),  a 
pupil  of  Madame  Giraudin  in  Paris,  has  won 
distinction  in  song-recitals.     [  R.9  ] 

t  PEDRELL,  FELIPE  (Feb.  19,  1841, 
Tortosa,  Spain).  See  article  in  Vol.  iii.  668-9. 
In  1911  his  seventieth  birthday  was  cele- 
brated by  the  publication  of  a  series  of 
'Escritos  heortdsticos'  by  musical  scholars 
of  different  countries.  For  many  details 
about  his  compositions  and  his  remarkable 
historical  studies,  see  Baker,  Diet,  of  Mu- 
sicians, p.  690. 

PELHAM,  PETER,  Jh.  (1721-  ?  ).  See 
Register,  1. 

PELISSIER,  VICTOR.  See  Register,  2. 
PENFIELD,  SMITH  NEWELL  (Apr.  4, 
1837,  Oberhn,  O.  :  Jan.  7,  1920,  New  York), 
after  graduating  from  Oberlin  College  in 
1858,  studied  in  New  York  with  James  Flint, 
in  Leipzig  with  Moscheles,  Papperitz,  Rei- 
necke,  Plaidy,  Richter  and  Hauptmann, 
graduating   from   the   Conservatory  in   1869, 


PENNY 


PERRY 


325 


and  in  Paris  with  Delioux.  He  first  taught  in 
Rochester,  and  then  went  to  Savannah, 
where  he  established  the  Conservatory  and 
the  Mozart  Club.  From  1882  he  was  in  New 
York,  where  for  many  years  he  was  organist 
at  the  Broadway  Tabernacle,  gave  many 
organ-recitals,  conducted  choral  societies  and 
started  the  Arion  Conservatory  in  Brooklyn. 
In  1885  he  was  president  of  the  M.  T.  N.  A. 
and  in  1888-90  of  the  New  York  State  Associa- 
tion. In  1885  New  York  University  made  him 
Mus.D.  His  works  included  Psalm  18,  for 
soli,  chorus  and  orchestra,  an  overture,  a 
string-quintet,  pieces  for  piano  and  organ, 
choruses  and  songs.     [  R.5  ] 

PENNY,  GEORGE  BARLOW  (b.  1861). 
See  Register,  8,  and  State  Univeesities 
(Kan.). 

PEOPLE'S  CHORAL  UNION,  THE,  of 
New  York.     See  Vol.  iii.  371. 

PEOPLE'S  SYMPHONY  ORCHESTRA, 
THE,  of  New  York.     See  Vol.  iv.  805. 

PERABO,  JOHANN  ERNST  (Nov.  14, 
1845,  Wiesbaden,  Germany),  began  music 
with  his  father  at  five.  In  1852  the  family 
came  to  America  and  he  had  violin-  and  piano- 
lessons  from  several  teachers.  He  entered 
the  Leipzig  Conservatory  in  1862,  studying 
piano  with  Moscheles  and  Richter,  theory  and 
composition  with  Hauptmann,  Papperitz  and 
Reinecke,  and  took  the  Helbig  prize  in  1865. 
After  a  year  of  teaching  in  New  York  and 
some  recital-giving,  since  1866  he  has  lived 
in  Boston,  becoming  noted  for  his  excellent 
playing  of  Beethoven.  He  has  made  a 
specialty  of  concert-transcriptions,  including 
the  first  movement  of  Rubinstein's '  Ocean '  and 
Schubert's  '  Unfinished '  Symphonies,  of  parts 
of  '  Fidelio '  and  of  some  Loewe  ballads.  Mrs. 
Beach  is  one  of  his  many  pupils.  Among  his 
compositions  for  piano  are  '  Moment  Musical,' 
op.  1 ;  Scherzo,  op.  2  ;  Prelude,  op.  3  ;  Waltz, 
op.  4;  Three  Studies,  op.  9;  'Pensees,'  op. 
11;  and  Prelude,  Romance  and  Toccatina, 
op.  19.     [  R.5  ] 

PERINI,  FLORA  (b.  1887).  See  Register, 
10. 

PERIODICALS,  MUSICAL.  See  Vol.  iii. 
687-9,  and  Journalism. 

PERKINS,  CHARLES  CALLAHAN  (1823- 
1886).     See  Register,  4. 

PERKINS,  DAVID  WALTON  (b.  1847). 
See  Register,  8. 

PERKINS,  HENRY  SOUTHWICK  (1833- 
1914).     See  Register,  5. 

PERKINS.  JULIUS  EDSON  (1845-1875). 
See  Register,  5. 

PERKINS,  ORSON  (1802-1882).  See  Reg- 
ister, 3. 

PERKINS,  WILLIAM  OSCAR  (1831- 
1902).  See  Register,  5,  and  Tune-Books, 
1859. 


tPEROSI,  LORENZO  (Dec.  23,  1872, 
Tortona,  Italy).  See  article  in  Vol.  v.  658. 
His  recent  oratorios  are  'Transitus  Animse' 
(1907),  'In  Patris  Memoriam'  (1910)  and 
'Giorni  di  Tribulazione '  (1916).  He  has  also 
composed  two  symphonic  poems,  'Dovrei 
non  Piangere '  and  '  La  Festa  del  Villaggio  ; ' 
concertos  for  piano  and  violin ;  a  sonata  for 
violin  ;  a  suite  for  piano-trio  ;  and  many  smaller 
vocal  and  instrumental  works. 

PERRIN,  HARRY  CRANE  (Aug.  19,  1865, 
Wellingborough,  England),  was  educated  at 
Trinity  College  in  Dublin,  receiving  Mus.B. 
in  1890,  F.R.C.O.  in  1892,  Mus.D.  in  1901, 
his  teachers  having  been  Stewart,  Pearce  and 
Bates.  From  1886  he  was  in  succession  or- 
ganist at  St.  Columba's  College,  at  St.  John's 
Church  in  Lowestoft,  and  at  St.  Michael's 
in  Coventry,  where  he  also  conducted  the 
Musical  Society.  In  1898  he  became  organist 
at  Canterbury  Cathedral  and  conductor  of 
the  Canterbury  Musical  Society.  Since  1908 
he  has  been  professor  and  director  at  the 
McGill  University  Conservatorium  in  Mon- 
treal, which  owes  its  fine  organization  and 
influence  to  his  leadership.  He  has  com- 
posed orchestral  music,  cantatas,  songs  and 
church-music.     [  R.9  ] 

PERRIN,  HENRY  FOOTE.  See  State 
Universities  (N.  M.). 

PERRY,  EDWARD  BAXTER  (Feb.  14, 
1855,  Haverhill,  Mass.),  has  been  sightless 
since  infancy,  but  has  nevertheless  achieved  re- 
markable success  as  student,  artist  and  teacher. 
After  having  graduated  from  the  public 
schools  of  Medford  in  1871,  he  studied  piano 
with  J.  W.  Hill  in  Boston,  besides  specializing 
in  English  literature.  In  1875  he  went  abroad 
for  further  general  and  musical  education  at 
Berlin  and  Stuttgart.  His  piano-study  was  with 
Kullak,  Pruckner  and  Clara  Schumann,  and 
in  1878  he  was  with  Liszt  at  Weimar  in  the 
summer.  Besides  playing  somewhat  in  public, 
he  kept  up  diligent  literary,  historical  and 
philosophical  studies.  In  1881-83  he  taught 
at  Oberlin  College,  and  in  1883-85  he  was 
again  in  Europe.  Since  1885  he  has  been 
chiefly  occupied  with  numerous  and  varied 
lecture-recitals  in  all  parts  of  the  country. 
Up  to  1917  he  had  thus  appeared  more  than 
3300  times.  In  1897-98  he  engaged  in  concer- 
tizing  in  Europe.  Since  1917  he  has  been  di- 
rector of  music  and  dean  of  fine  arts  at  the 
Woman's  College  in  Montgomery,  Ala.  He  has 
written  Descriptive  Analysis  of  Piano-Works 
and  Stories  of  Standard  Teaching-Pieces,  with 
perhaps  300  articles  for  magazines.  Best 
known  among  his  piano-pieces  are  a  Reverie, 
a  Nocturne,  an  Impromptu,  a  '  Mazurka 
Caprice'  and  'Why?'  (Schmidt),  'Autumn 
Reverie,'  'The  Portent,'  '^olienne'  and  'The 
Ballade  of  Last  Island'  (Presser),  with  several 


326 


PERRY 


PHILHARMONIC  SOCIETY 


studies.  His  most  important  unpublished 
work  is  the  'Melusine'  Suite,  founded  on  a 
legend  in  the  family  of  Prince  Lusignan. 
This  led  the  latter  to  confer  on  him  the  title 
of  'Chevalier  de  Melusine'  (1898).  In  his 
works,  as  in  his  explanatory  lectures,  he  exalts 
poetic  significance  more  than  technical 
structure.     [  R.7  ] 

PERRY,  EMORY  (1799  -  ?  ).  See  Reg- 
ister, 3. 

PERSINGER,  LOUIS  (Feb.  11,  1887, 
Rochester,  111.),  spent  his  early  years  in 
Oklahoma  and  Colorado,  where  he  had  some 
lessons  on  violin  and  piano.  In  1900,  aided 
by  the  late  W.  S.  Stratton,  he  began  serious 
study  in  Leipzig,  having  violin  under  Becker, 
and  piano,  theory  and  conducting  under 
Nikisch,  and  graduated  from  the  Conservatory 
with  the  highest  honors  in  1904.  Nikisch 
called  him  'one  of  the  most  talented  pupils' 
they  had  ever  had.  After  a  year  of  concert- 
work  in  America,  he  had  two  years  at  Brussels 
under  Ysaye.  In  1907  he  was  concertmaster 
of  the  Opera  Orchestra  there  at  its  Vauxhall 
concerts,  and  in  1908  of  the  Bliithner  Or- 
chestra in  Berlin.  Returning  then  to  America, 
he  taught  for  a  few  months  in  Winnipeg,  but 
in  1909-11  concertized  in  Germany,  Austria 
and  Denmark  with  such  success  that  in  1912-13 
he  made  a  brilliant  tour  in  the  United  States, 
appearing  with  all  the  leading  orchestras  from 
New  York  to  San  Francisco.  Another  season 
of  concerts  in  Europe  was  followed  in  1914-15 
by  service  as  concertmaster  for  the  Philhar- 
monic Orchestra  in  Berlin.  Since  1915  he 
has  been  concertmaster  and  assistant-con- 
ductor of  the  San  Francisco  Orchestra, 
director  of  the  Chamber  Music  Society  and 
leader  of  the  Community  Music  School 
Orchestra.  In  1913  he  married  the  pianist 
Angela  Gianelli.     [  R.9  ] 

PETERBORO  (N.H.)  FESTIVALS.  See 
MacDowell  Memorial  Association. 

PETERS,  ABSALOM  (1793-1869).  See 
Tune-Books,  1823. 

PETERS,  RICHARD  HARRY  (b.  1867). 
See  Register,  8. 

PETERSILEA,  CARLYLE  (1844-1903). 
See  Register,  5. 

PETIT.     See  Register,  2. 

PFEFFERKORN,  OTTO  W.  G.  See  Col- 
leges, 2  (Brenau  C,  Ga.). 

tPFITZNER,  HANS  ERICH  (May  5, 
1869,  Moscow,  Russia).  See  article  in  Vol. 
iii.  696-7.  He  taught  at  the  Stern  Conserva- 
tory until  1907,  and  was  conductor  at  the 
Theater  des  Westens  in  1903-07.  In  1907-08 
he  was  conductor  of  the  Kaim  Orchestra  in 
Munich,  and  then  went  to  Strassburg  as 
director  of  the  conservatory  and  of  municipal 
music,  becoming  in  1910  also  conductor  at 
the  Opera.     His  latest  opera  is  'Palestrina' 


(1919,  Berhn).  Other  works  are  incidental 
music  to  Kleist's  'Kathchen  von  Heilbronn,' 
op.  17,  and  to  Von  Stach's  'Christelflein, 
op.  20 ;  the  eight-part  a  cappella  chorus 
'Columbus,'  op.  16;  a  piano-trio  in  F,  op.  8; 
a  string-quartet  in  D,  op.  13 ;  and  a  piano- 
quintet  in  C,  op.  23.  His  essays  Vom  musika- 
lischcn  Drama  were  published  in  1915. 

PFITZNER,  WALTHER  (b.  1882).  See 
Register,  10. 

PHELPS,  ELLSWORTH  C.  (1827-  ?  ). 
See  Register,  4. 

PHILADELPHIA  MUSICAL  ACADEMY, 
THE,  was  founded  in  1870  by  John  F.  Himmel- 
bach,  who  remained  its  director  till  1876, 
when  he  was  succeeded  by  Richard  Zeckwer. 
In  1915  the  latter  was  joined  in  the  manage- 
ment by  his  son,  Camille  Zeckwer,  and  since 
1917  the  latter  has  been  director  with  Fred- 
erick E.  Hahn  and  Charlton  L.  Murphy.  The 
Academy  has  had  notable  success.  The 
faculty  includes  over  50  teachers,  and  the 
student-enrolment  is  about  800  in  the  main 
school,  besides  three  branches  in  different 
parts  of  the  city.  The  total  number  enrolled 
since  the  beginning  is  over  26,000.  In  1917 
the  Academy  was  combined  with  the  Hahn 
Conservatory.  It  has  arrangements  with 
other  schools  for  special  advantages  in 
language-study  and  in  dramatic  art. 

PHILADELPHIA  SYMPHONY  OR- 
CHESTRA, THE.  See  article  in  Vol.  iv. 
805-6.  Karl  Pohlig  continued  as  conductor 
until  1912,  when  he  was  succeeded  by  Leopold 
Stokowski,  previously  of  Cincinnati.  Under 
the  latter  the  Orchestra  has  added  laurels  to 
its  fine  reputation.  Since  1908  the  num- 
ber of  players  has  been  80  or  more.  Popular 
concerts  were  added  to  the  regular  series  in 
1915,  and  in  1916  a  movement  started  for  a 
large  permanent  fund.  Since  1914  the  Or- 
chestra has  regularly  played  in  New  York, 
now  giving  five  concerts  there  each  year. 
Among  the  new  works  brought  out  have  been 
Pohlig's  Symphonic  Poem,  'Per  Aspera  ad 
Astra'  (1908),  Volbach's  Symphony  in  B 
minor  (1910),  Rabaud's  2nd  Symphony 
(1913),  Schonberg's  'Kammersymphonie' 
(1915),  Sandby's  Concerto  in  D,  for  'cello 
(1916),  Zeckwer's  Symphonic  Poem,  'Sohrab 
and  Rustum'  (1916),  Mahler's  8th  Symphony, 
with  large  choral  forces  (1916,  three  times  and 
in  New  York),  Elgar's  music  to  Cammaerts' 
'Le  Drapeau  Beige'  (1918),  Gardner's  Sym- 
phonic Poem,  'New  Russia'  (1919),  and 
Hadley's  Concert-Overture,   'Othello'   (1919). 

PHILHARMONIC  SOCIETY,  THE,  of 
Boston,  is  the  name  of  more  than  one  organi- 
zation. One  is  mentioned  as  early  as  1799. 
Another  is  said  to  have  been  started  by 
Graupner  in  1910,  continuing  till  1824.  This 
may  have  been  in  some  way  connected  with 


PHILHARMONIC  SOCIETY 


PHONOGRAPH 


327 


the  first.  In  1879  an  orchestra  was  established 
by  Bernhard  Listemann,  which  in  1881  was 
continued  under  a  society  of  guarantors. 
Listemann  was  succeeded  by  Maas  and  in 
1881  by  Zerrahn. 

PHILHARMONIC'  SOCIETY,  THE.  of 
Brooklyn.     See  article  in  Vol.  iv.  801. 

PHILHARMONIC  SOCIETY,  THE,  of 
Chicago,  was  formed  in  1860  and  did  useful 
pioneer  work  under  Hans  Balatka  until  1867, 
introducing  eight  of  the  Beethoven  sym- 
phonies, two  each  of  Mozart's  and  Cade's, 
one  of  Mendelssohn's,  etc. 

PHILHARMONIC  SOCIETY,  THE,  of 
New  York.  See  article  in  Vol.  iv.  803-5. 
Safonov  continued  as  conductor  till  1909, 
succeeded  by  Gustav  Mahler  in  1909-11,  who 
wrought  a  thorough  change  in  discipline, 
bringing  the  orchestra  to  the  highest  state  of 
finish.  His  illness  and  death  led  to  the 
employment  of  Theodore  Spiering  as  sub- 
stitute in  1911.  Since  1911  the  regular  leader 
has  been  Josef  Stransky,  who  has  greatly 
commended  himself.  The  size  of  the  band 
under  Safonov  was  125,  but  was  reduced  to 
100  under  Mahler.  In  1912  the  Society 
received  a  bequest  of  §1,000,000  from  the  late 
Joseph  Pulitzer.  In  1917  it  celebrated  its 
75th  anniversary  with  extended  festival 
performances,  and  $110,000  was  contributed 
toward  a  building-fund.  Leopold  Kramer 
was  concertmaster  in  1913-17  and  Alfred 
Megerlin  since  1917.  Out  of  many  new  works 
produced  may  be  mentioned  Mahler's  1st  and 
5th  Symphonies  (1909,  '11),  Bizet's  'Roma' 
Suite  (1911),  Weingartner's  3rd  Symphony 
and  'Merry  Overture'  (1911,  '12),  Korngold's 
'Overture  to  a  Play'  (1912),  Ritter'a  'Olaf's 
Wedding-Dance'  (1912),  Reger's  'Romantic' 
and  'Ballet'  Suites  (1913),  Ropartz'  4th 
Symphony  and  'La  Chasse  du  Prince  Arthur' 
(1914),  Bloch's  1st  Symphony  (1918),  Wilson's 
Suite  'From  my  Youth'  (1918),  Rogers'  'To 
the  Fallen,'  Dvorak's  3rd  Symphony,  and 
Schmitt's  'Rhapsodie  Viennoise'  (all  1919). 

An  early  society  of  this  name  was  formed 
in  1800  by  the  union  of  the  St.  Cecilia  and 
Harmonical  Societies.  How  long  it  continued 
is  not  clear. 

PHILE,  PHILIP.     See  Register,  2. 

t  PHILIPP,  ISIDOR  (Sept.  2,  1863,  Buda- 
pest, Hungary).  See  article  in  Vol.  iii.  705. 
His  educational  works  for  piano  are  highly  es- 
teemed and  widely  used.  They  include  Exer- 
cises Journaliers,  Problemes  Techniques,  Ecole 
d' Octaves,  La  Gamme  Chromatique,  Etudes 
Techniques,  etc.  He  has  also  composed  many 
piano-pieces  and  some  orchestral  music,  and 
has  continued  his  valued  arrangements  and 
editions  of  the  classics.  He  is  Chevalier  of  the 
Legion  d'Honneur  and  Oflicier  d'Instruction 
Publique. 


PHILLIPPS.  ADELAIDE  (1833-1882). 
See  Vol.  iii.  709-10,  and  Register,  4. 

PHILLIPS,  HAROLD  DOCKRAY,  born 
at  Oxford,  England,  had  early  training  at 
Peterborough  Cathedral,  and  at  sixteen  was 
organist  at  St.  Andrew's  (Kensington)  in 
London.  Later  he  was  musical  scholar  and 
organist  at  Caius  College  in  Cambridge,  where 
he  became  Mus.B.  and  A.M.  He  then 
played  at  the  Duchess  of  Albany's  church  at 
Esher  in  Surrey  and  at  St.  Andrews  (Holborn) 
in  London,  becoming  also  fellow  of  the  R.  C.  O. 
In  1903  he  came  to  Toronto  as  organist  at  St. 
Paul's,  and  thence  went  in  1906  to  Baltimore 
to  be  head  of  the  organ-department  and 
lecturer  on  music-history  at  the  Peabody 
Conservatory,  where  he  gave  annual  series 
of  recitals.  From  1914  he  was  organist  at 
the  First  Church  (Scientist)  and  critic  on 
the  'News.'  In  1914  he  was  chosen  to  repre- 
sent the  German  school  of  organ-music  at  a 
recital  in  New  York  arranged  by  the  A.  G.  O. 
In  1920  he  removed  to  New  York.  He  has 
written  an  organ-sonata  in  D  minor  (Stainer  & 
Bell),  a  symphony  in  C  minor,  two  cantatas, 
a  string-quartet  in  A-flat,  and  two  piano-trios, 
in  E  and  D-flat.     [  R.9  ] 

PHILLIPS,  HARRY  (b.  1864).  See  Col- 
leges, 3  (Macalester  C,  Minn.). 

PHILLIPS,  PHILIP  (1834-1895).  See 
Register,  4. 

PHILLIPS,  THOMAS  (1774-1841).  See 
Register,  3. 

PHILLIPS,  T.  MORGAN.  See  Colleges, 
3  (Hiram  C,  Ohio). 

PHONOGRAPH.  Edison's  invention  by 
this  name  (1876)  was  the  first  to  both  record 
and  reproduce  complex  sounds  mechanically. 
Its  primary  purpose  was  to  transmit  speech- 
sounds.  But  it  was  speedily  extended  by 
Edison  and  others  to  every  sort  of  musical 
effect.  Especially  since  1900  and  through  the 
persistent  ingenuity  of  American  inventors, 
this  general  type  of  mechanical  reproducer 
has  become  artistically  significant.  The 
process  differs  from  that  of  the  player-piano 
in  that  no  actual  musical  instrument  is  em- 
ployed in  reproduction  and  that  the  user  has 
little  expressional  control. 

The  'records'  employed  are  ordinarily  disks 
of  hard  rubber,  on  the  face  of  which  inden- 
tations corresponding  to  the  vibrations  of  the 
original  effect  are  made  by  a  stylus  connected 
with  a  sensitive  receiver.  These  records, 
mounted  on  a  revolving  spindle  propelled  by 
a  motor,  are  traversed  by  a  'needle'  of  soma 
special  material  (wood,  fibre  or  a  jewel)  that  is 
connected  with  a  delicate  '  diaphragm '  like  that 
of  the  telephone,  which  is  thus  thrown  into 
vibrations  like  those  of  the  original  receiver. 
These  \'ibrations,  conducted  through  a  'tone- 
arm,'  are  made  sonorous  by  passing  out  through 


328 


'PHYLLIS' 


PILZER 


a  resonant  projector  of  some  form.  Intensity 
is  controlled  by  shutters  or  doors,  and  some 
modification  of  tone-quality  is  usually  possible. 
But  changes  of  speed  affect  the  total  pitch. 

Although  much  employed  for  coarse  effects, 
instruments  of  this  class  have  also  been  applied 
with  extraordinary  success  to  recording  su- 
perior vocal  and  instrumental  performances, 
both  solo  and  in  ensemble.  The  best  of  these 
achievements  are  invaluable  as  historic  records 
and  for  demonstrative  purposes. 

Some  of  the  trade-names  used  are  these  : 

'^olian-Vocalion,'  jEolian  Co.,  New  York. 
'Bush  &  Lane,'  Bush  &  Lane  Piano  Co.,  Holland, 

Mich. 
'Cremona,'  Cremona  Phonograph  Co.,  New  York, 
'Dulcitone,'    Dulcitone    Phonograph    Co.,    South 

Haven,  Mich. 
'Edison,'  Thoa.  A.  Edison,  Inc.,  Orange,  N.  J. 
'Grafonola,'    Columbia    Graphophone    Mfg.    Co., 

New  York. 
'Kreiterphone,'  Kreiter  Mfg.  Co.,  Milwaukee. 
'Lauzon,'     Michigan     Phonograph     Co.,     Grand 

Rapids,  Mich. 
'Magnola,'      Magnola     Talking     Machine      Co., 

Chicago. 
'Mandel,'  Mandel  Mfg.  Co.,  Chicago. 
'Manophone,'  Manophone  Corp.,  Adrian,  Mich. 
'Natural  Voice,'   Natural  Voice  Phonograph  Co., 

Oneida,  N.  Y. 
'Paramount,'    Paramount    Talking    Machine    Co., 

Port  Washington,  Wis. 
'Path6,'  Paths  Freres  Phonograph  Co.,  Brooklyn. 
'Starr,'  Starr  Piano  Co.,  Richmond,  Ind. 
'True-Tone,'  Cameron  Phonograph  Co.,  New  York. 
'Victrola,'  Victor  Talking  Machine  Co.,  Camden, 

N.  J. 
'  Violaphone,'  Gretsch  Mfg.  Co.,  Brooklyn. 

'  PHYLLIS.'  A  romantic  opera  by  Richard 
Henry  Warren,  produced  in  New  York  in  1900. 

PIANOFORTE.  See  article  in  Vol.  iii. 
716-32,  especially  notes  regarding  American 
contributions  to  the  instrument  on  pp.  726-30. 
Spillane  {History  of  the  American  Pianoforte, 
1890)  seems  to  have  shown  that  in  many 
small  details  American  makers  were  even 
earlier  or  more  ingenious  than  is  there  in- 
dicated. The  intimate  relation  between  Eng- 
land and  America  led  to  a  prompt  interchange 
of  mechanical  ideas  as  well  as  of  actual  work- 
men, so  that  the  two  countries  cannot  be 
regarded  apart.  In  the  earlier  sections  of 
the  Register  notes  are  given  as  to  Behrenti 
Hesselius,  Albrecht,  Crehore,  Taws,  Van  Hagen, 
the  Babcocks,  Bacon,  Bourne,  Chickering, 
Clark,  Dubois,  Dunham,  Firth,  the  Geibs,  the 
Gilberts,  Hawkins,  Hiskey,  Knabe,  Lindeman, 
the  Louds,  Mackay,  Meyer,  the  Nunnses,  Os- 
born,  Schomacker,  Stewart,  Stodart,  Wise,  etc. 
—  all  of  whom  worked  at  least  as  early  as 
1840.  The  attention  given  to  piano-making  in 
America  before  1850  is  both  a  symptom  and 
a  cause  of  musical  interest.  After  1850  Amer- 
ican pianos  began  to  acquire  something  of  the 
international  prominence  that  they  now  have. 


one  of  the  striking  factors  being  the  enter- 
prise of  Steinway  after  1853. 

The  enormous  expansion  of  the  industry 
of  piano-making  is  shown  by  the  fact  that  over 
300  establishments  are  now  in  operation  (not 
counting  those  merely  occupied  in  making 
parts  and  fittings),  employing  towards  30,000 
workmen.  The  census  of  1910  placed  the 
annual  output  at  that  time  at  about  375,000 
instruments,  of  which  nearly  9000  were  grands. 
The  value  of  this  annual  output  was  put  at 
about  $60,000,000.  It  is  not  likely  that  the 
number  of  separate  concerns  has  much  in- 
creased, but  the  amount  of  production  is  cer- 
tainly greater.  See  Am.  History  and  Encyclo- 
pedia of  Music,  '  American  Music,'  pp.  314-26. 

Since  1900  the  whole  field  of  piano-making 
has  been  greatly  modified  by  the  multipHcation 
of  automatic  devices  for  playing,  chiefly  those 
contained  within  the  instrument  (see  Player- 
Piano).  These  have  now  been  adopted  by 
practically  all  makers,  with  numerous  special 
points  of  interest  in  each  case.  This  in- 
novation has  greatly  extended  the  range  of 
the  market  for  pianos.  Whether  or  not  it 
has  affected  the  character  of  their  artistic 
use  remains  an  open  question.  The  me- 
chanical difficulties  of  introducing  'playing' 
attachments  have  been  so  well  overcome  that 
they  no  longer  need  take  away  from  an  in- 
strument's essentially  artistic  quality. 

Details  regarding  many  leading  piano-makers 
are  given  in  separate  articles. 

PIERCE,  GEORGE  LEAVITT  (b.  1874). 
See  Colleges,  3  (Grinnell  C,  Iowa). 

PILCHER'S  SONS,  HENRY,  of  Louisville, 
Ky.,  is  an  organ-making  business  that  has  had 
a  long  history.  Henry  Pilcher,  Sr.  (d.  1880), 
began  making  organs  in  London  in  1820.  In 
1832  he  came  to  New  York  and  for  many  years 
was  associated  with  Henry  Erben.  His  son, 
Henry  Pilcher,  Jr.  (1828-91),  after  training  in 
New  York,  about  1850  established  himself  in 
St.  Louis,  in  1861  moved  to  Chicago,  and,  after 
the  great  fire  of  1871,  went  to  Louisville, 
making  a  fine  record  for  conscientious  work  in 
each  city.  Since  1884  the  firm,  now  carried  on 
by  Robert  E.  and  William  E.  Pilcher,  haa 
developed  a  large,  fully-equipped  factory. 
One  of  its  largest  four-manual  organs  is  in  the 
First  Presbyterian  Church  of  Atlanta. 

'PILGRIM'S  PROGRESS."  A  'musical 
mystery'  for  soli,  chorus,  organ  and  orchestra, 
by  Edgar  Stillman  Kelley,  on  a  text  by  Mrs. 
Elizabeth  Hodgkinson.  It  was  first  produced 
at  the  Cincinnati  May  Festival  in  1918,  and 
repeated  in  New  York  in  1920  at  the  festival 
of  the  Oratorio  and  Symphony  Societies. 

PILLSBURY,  AMOS.  See  Tune-Books, 
1799. 

PILZER,  MAXIMILIAN  (b.  1890).  See 
Register,  9. 


PINNEY 


PLAYER-PIANO 


329 


PINNEY,      CLAUDE      CHARLES.     See 

CoLLEGEa,  3  (Tarkio  C,  Mo.). 

'PIPE  OF  DESIRE,  THE.'  An  opera 
in  one  act  by  Frederick  S.  Converse,  first 
produced  in  Boston  in  1906  and  at  the  Metro- 
politan Opera  House  in  New  York  in  1910. 

PIRANI,  EUGENIC  DI  (Sept.  8,  1852, 
Ferrara,  Italy),  was  the  son  of  a  teacher  of 
languages  in  Berlin.  His  general  education 
was  in  Venice  and  much  of  his  musical  training 
at  the  Rossini  Conservatory  in  Bologna. 
He  also  studied  piano  with  Kullak  at  Berlin 
and  composition  with  Kiel.  In  1873-83  he 
taught  in  the  Kullak  Academy  and  toured 
as  pianist  on  the  Continent  and  in  England. 
He  had  an  important  part  in  the  Cristofori 
Commemoration  in  Florence,  became  a 
member  of  several  Academies  and  received 
numerous  decorations.  In  1888  he  was  head 
of  the  German  committee  for  the  International 
Music  Exhibition  at  Bologna.  In  1898-1901 
he  was  critic  for  the  'Kleines  Journal'  in 
Berlin.  In  1901-06  he  toured  in  both  Europe 
and  America  with  the  soprano  Alma  Webster 
Powell,  with  whom  in  1904  he  founded  a 
Musical  Institute  in  Brooklyn  which  they 
still  direct.  He  became  an  American  citizen 
in  1916.  He  has  written  the  operas  'Das 
Hexenlied'  (1902,  Prague)  and  'Black  Blood' 
(1904)  ;  a  'Sc^ne  Veneziane,'  op.  44,  for  piano 
and  orchestra  (1892)  ;  the  symphonic  poems 
'Fete  au  Chateau,'  op.  43  (1901),  'Woodland' 
and  'Belshazzar' ;  'Airs  Boh6miens,'  op.  35, 
for  orchestra ;  and  many  lesser  instrumental 
and  vocal  works.  His  High-School  of  Piano- 
Playing,  1908  (4th  ed.,  1918),  includes  Etudes 
that  have  been  highly  praised.     [  R.9  ] 

tPITT,  PERCY  (Jan.  4,  1870,  London, 
England).  See  article  in  Vol.  iii.  759.  In 
1906  he  became  an  assistant-conductor  at 
Covent  Garden,  and  in  1907  principal  con- 
ductor and  general  artistic  adviser,  following 
Messager.  His  symphony  in  G  minor  was 
played  at  the  Birmingham  Festival  of  1906. 
Other  recent  compositions  are  an  'English 
Rhapsody'  for  orchestra,  based  on  folk-songs, 
the  ballet-pantomime  'Sakura,'  a  Serenade  for 
orchestra,  and  'Anactoria,'  a  symphonic  poem 
for  viola  and  orchestra. 

PITTS,  F.  E.     See  Tune-Books,  1859. 

PITTSBURGH  MUSICAL  INSTITUTE, 
THE,  was  organized  in  1915  under  the  joint 
direction  of  Frank  Milton  Hunter,  William 
H.  Getting,  Dallmeyer  Russell  and  Charles 
N.  Boyd,  Mr.  Hunter  retiring  in  1919.  Start- 
ing with  an  enrolment  of  about  400,  it  has 
now  nearly  trebled  that  number.  There 
are  about  25  teachers.  The  Institute  has 
an  arrangement  for  exchanging  credits  with 
the  University  of  Pittsburgh. 

PITTSBURGH  SYMPHONY  ORCHES- 
TRA, THE.      See  article  in  Vol.  iv.  806-7. 


Emil  Paur  continued  as  conductor  until  1910. 
In  1907  the  Orchestra  made  an  extensive  tour 
in  conjunction  with  the  Mendelssohn  Choir  of 
Toronto.  In  1908  the  number  of  players  was 
increased  to  80,  and  Edward  Tak  secured  as 
concertmaster.  In  1910  difficulties  arose  about 
the  guarantee-fund,  resulting  in  the  disbanding 
of  the  organization.  In  1909  Paur  brought  out 
his  'In  der  Natur'  Symphony. 

PIUTTI,  MAX  (1852-1885).  See  Register, 
6. 

PLAYER-PIANO.  See  article  on  Auto- 
matic Appliances  in  Vol.  i.  133-8.  American 
inventors  have  been  remarkably  energetic 
and  successful  in  perfecting  devices  to  operate 
pianos  mechanically,  so  that  these  are  now  in 
use  throughout  the  world.  The  earUer  effort 
was  to  make  'piano-players' — instruments 
apart  from  the  piano  itself.  These  were  soon 
steadily  replaced  by  mechanisms  enclosed 
within  the  piano-case  —  whence  the  name 
'player-piano.'  The  essential  principles  of 
the  two  types  are  similar.  The  motive  power 
is  pneumatic,  secured  through  an  exhaust- 
bellows  operated  either  by  the  feet  or  by  an 
electric  motor.  This  propels  the  'music-roll' 
(a  paper-strip  perforated  with  slots  for  the 
notes  of  a  particular  piece  and  often  for 
variations  in  tempo  or  force)  and  actuates 
the  mechanical  units  affecting  the  action  of 
the  hammers.  The  number  of  units  was  at 
first  44,  then  6'5  or  72,  and  is  now  usually  88, 
corresponding  to  the  full  compass  of  the  key- 
board. Each  unit  connects  by  a  tube  with  an 
opening  in  the  'tracker-bar,'  over  which  the 
music-roll  passes,  and  is  put  in  action  only 
when  a  slot  in  the  roll  matches  with  the  open- 
ing. The  tempo  is  set  or  varied  by  controlling 
the  movement  of  the  roll,  but  the  force  of  the 
hammer-blow  is  governed  by  special  arrange- 
ments associated  with  the  operative  units. 
These  'expression-devices'  are  directed  either 
by  levers  controlled  by  the  player's  hands  or 
automatically  through  the  roll. 

The  tendency  is  for  each  piano-maker  to 
develop  his  own  type  of  'player,'  all  aiming 
to  secure  extreme  rapidity,  certainty,  delicacy 
and  noiselessness  of  action.  The  eager  com- 
petition between  inventors  has  lifted  the 
whole  enterprise  into  artistic  importance. 
Many  companies  have  been  organized  to  make 
'player-actions'  that  can  be  installed  in  various 
makes  of  pianos.  Such  actions  are  also  being 
widely  applied  to  pipe-organs,  even  of  the 
largest  class,  as  well  as  to  orchestrions.  Below 
is  a  list  of  some  of  the  trade-names  by  which 
'player-mechanisms'  are  known,  with  the 
firms  using  them : 

'  Air-o-Player,'  National  Piano  Co.,  Boston. 
'Amphion,'  Amphion  Piano- Player  Co.,  Syracuse. 
'Ampico,'  American  Piano  Co.,  New  York. 
'Angelus,'  Wilcox  &  White  Co.,  Meriden,  Conn. 


330 


POCHON 


POWELL 


'Apollo,'  Melville  Clark  Piano  Co.,  Chicago. 

'Artistano,'  A.  B.  Chase  Co.,  Norwalk,  O. 

'Artone,'  Ahlstrom  Piano  Co.,  Jamestown,  N.  Y. 

'Autola,'  Horace  Waters  &  Co.,  New  York. 

'Autopiano,'  Autopiano  Co.,  New  York. 

'Autopneumatic,'  Autopneumatic  Action  Co., 
New  York. 

'Autotone,'  Hardman,  Peck  &  Co.,  New  York. 

'Carola  Inner-Player,"  Cable  Co.,  Chicago. 

'Cecilian,'  Farrand  Co.,  Detroit. 

'Claviola,'  Claviola  Co.,  New  York. 

'Combinola,'  Geo.  P.  Bent  Co.,  Chicago. 

'Concertone,'  Mansfield  Piano  Co.,  New  York. 

'Electrelle,'  American  Piano  Co.,  New  York. 

'Euphona,'  Cable  Co.,  Chicago. 

'Exceltone,'  Chase-Hackley  Piano  Co.,  Muskegon, 
Mich. 

'Harmonola,'  Price  &  Teeple,  Chicago. 

'Humana,'  Lauter  Co.,  Newark,  N.  J. 

'Manualo,'  Baldwin  Co.,  Cincinnati. 

'Master,'  Winter  &  Co.,  New  York. 

'Melodigrand,'  Melodigrand  Co.,  New  York. 

'Modello,'  Baldwin  Co.,  Cincinnati. 

'Musicale,'  Mansfield  Piano  Co.,  New  York. 

'Oktavec,'  Laffargue  Co.,  New  York. 

'Pianino,'  Wurlitzer  Co.,  New  York. 

'Pianista,'  Autopiano  Co.,  New  York. 

'Pianola,'  .<Eolian  Co.,  New  York. 

'Playotone,'  Autopiano  Co.,  New  York. 

'Primatone,'  Foster-Armstrong  Co.,  East  Roches- 
ter, N.  Y. 

'Simplex,'  Simplex  Player-Action  Co.,  Worcester, 
Mass. 

'Sterlitone,'  Sterling  Co.,  Derby,  Conn. 

'Symphonola,'  Price  &  Teeple,  Chicago. 

'Tel-Electric,'  'Telektra,'  Tel-Electric  Co.,  Pitts- 
field,  Mass. 

'Troubadour,'  Haddorff  Piano  Co.,  Rockford,  111. 

'Virtuolo,'  Hallet  &  Davis  Co.,  Boston. 

'Wondertone,'  Lindenberg  &  Co.,  Columbus,  O. 

In  addition,  there  are  numerous  types  that  are 
known  simply  by  the  name  of  the  firms  using 
them. 

For  details  of  construction,  see  William 
Braid  White,  The  Player-Piano  Up  to  Date, 
1914,  and  Harrison  Louis  Van  Atta,  The  Piano 
and  Player-Piano,  1914. 

POCHON,  ALFRED  (b.  1878).  See  Regis- 
ter, 9. 

POEHLMANN,  HERMANN.  See  Col- 
leges, 3  (Grove  City  C,  Pa.). 

POLACCO,  GIORGIO  (Apr.  12,  1875, 
Venice,  Italy),  as  a  boy  studied  in  Petrograd, 
continuing  under  Coccon  at  the  Liceo  Marcello 
in  Milan,  where  he  later  graduated  from  the 
Verdi  Conservatory.  He  at  once  began  a 
career  as  operatic  conductor,  first  in  London, 
for  a  few  years  in  Milan  and  Rome  and  for 
several  more  at  Buenos  Aires  and  Rio  de 
Janeiro.  He  also  was  guest-conductor  at 
Lisbon,  Warsaw,  Petrograd  and  Mexico  City. 
In  1906  he  appeared  at  San  Francisco,  and  in 
1911-12,  at  Puccini's  request,  he  had  charge 
of  Savage's  productions  of  his  'Girl  of  the 
Golden  West.'  From  1912  he  was  one  of  the 
valued  leaders  at  the  Metropolitan  Opera 
House  in  New  York.  In  1915  he  replaced 
Toscanini  at  the  latter's  breakdown  in  health, 
and  then  succeeded  as  chief  conductor.     Since 


1918  he  has  been  with  the  Chicago  Opera 
Company.  His  repertoire  includes  more  than 
150  operas  —  Italian,  French,  Russian  and 
Wagnerian.  He  has  often  been  chosen  to 
bring  out  new  Italian  works,  as,  for  example, 
Mascagni's  'L'Amico  Fritz'  in  1891.  [  R.9  ] 
POMMER,  WILLIAM  HENRY  (b.  1851). 
See  State  Universities  (Mo.). 

POND,  SYLVANUS  BILLINGS  (1792- 
1871).  See  Register,  3,  and  Tune-Books,  1841. 
POND,  WILLIAM  A.,  &  COMPANY,  is  the 
fijm-name  assumed  in  1867  for  the  business  of 
piano-making  and  dealing  in  music  and 
instruments  originally  established  in  1821  by 
John  Firth  and  WiUiam  Hall.  In  1832  they 
were  joined  by  S.  B.  Pond,  previously  of 
Albany,  who  continued  till  1850,  when  his 
son,  William  A.  Pond  (d.  1885),  came  in, 
ultimately  succeeded  by  William  A.  Pond, 
Jr.  The  making  of  pianos  early  ceased  to 
be  a  feature  of  the  business,  but  publishing 
and  dealing  in  musical  merchandise  of  all 
sorts  have  been  conspicuous. 

POOL,  DAVID.     See  Tune-Books,  1813. 
POOLE,    HENRY    WARD    (1825-    ?    ). 
See  Register,  4. 

PORTER,  ALICE  A.  See  Colleges,  2 
(Western  College,  Ohio). 

PORTER,  FRANK  ADDISON  (b.  1859). 
See  Register,  7. 

PORTER,  WILLIAM  S.     See  Register,  3. 
POTTER,  CARRIE  CASLER.     See  Col- 
leges, 3  (McMinnville  C,  Ore.). 

POWELL,  ALMA  WEBSTER,  nee  Hall 
(Nov.  20,  1874,  Chicago),  after  early  experience 
as  soprano,  from  1901  studied  with  Pirani  in 
Berlin,  making  her  debut  there  in  '  II  Barbiere 
di  Siviglia'  and  taking  the  part  of  Renata  at 
the  first  performance  of  Pirani's  'Hexenlied' 
in  1902  at  Prague.  She  toured  with  him  in 
Europe  and  America  till  1906,  but  also  in  1904 
joined  him  in  establishing  a  Musical  Institute 
in  Brooklyn  which  they  still  continue.  Mean- 
while she  took  courses  with  Rybner  at  Colum- 
bia University,  where  she  gained  a  Mus. 
B.  in  1910,  M.A.  in  1911,  and  Ph.D.  in 
1914  (the  last  in  pohtical  science).  Since 
1914  she  has  given  her  chief  attention  to 
lecture-recitals,  especially  in  colleges  and 
universities.  She  is  author  of  an  Advanced 
School  of  Vocal  Art,  1911.     [  R.9  ] 

POWELL,  JOHN  (Sept.  6,  1882,  Rich- 
mond, Va.),  having  graduated  from  the 
University  of  Virginia  in  1901,  first  studied 
the  piano  with  his  sister,  Mrs.  Brockenbrough, 
and  F.  C.  Hahr.  In  1902-07  he  continued 
with  Leschetizky  in  Vienna  and  in  1904-07 
took  composition  under  Navrdtil.  He  first 
appeared  as  pianist  with  the  Tonkiinstler 
Orchestra  in  November,  1907,  and  then  for 
several  years  toured  widely  in  Germany, 
France  and  England.     In  1912  he  appeared 


MAUD  POWELL 


POWELL 


PRATT 


331 


at  Richmond  and  in  1913  in  New  York. 
Since  then  he  has  been  heard  throughout  the 
country,  often  with  the  principal  orchestras, 
always  with  notable  success.  His  com- 
positions bid  fair  to  attract  as  much  attention 
as  his  playing,  especially  as  he  has  made 
striking  and  effective  use  of  Negro  themes 
and  other  folk-song  material.  The  list  in- 
cludes 

'Sonata  Virginesque,'  op.  7,  for  violin  and  piano  — 
'In  the  Quarters,'  'In  the  Woods,'  'At  the  Big 
House'  (1908,  Vienna). 

Concerto  in  B  minor,  op.  13,  for  piano  and  orchestra. 

'Sonate  Psychologique,'  op.  15,  for  piano  (1912, 
London). 

Suite,  'In  ttie  South,'  op.  16,  for  piano  —  'Hum- 
ming-Birds,' 'Negro  Elegy,'  'Pioneer  Dance.' 

Three  Songs,  op.  18. 

String-Quartet,  op.  19  (1910,  SevSik  Quartet, 
London). 

Variations  and  Double  Fugue,  op.  20,  for  piano 
(on  a  theme  by  Hahr). 

'Sonate  Noble,'  op.  21,  for  piano. 

Suite,  'At  the  Fair,'  op.  22,  for  piano. 

Concerto  in  E,  op.  23,  for  violin  and  orchestra 
(1912,  Zimbaliat,  New  York). 

'Sonata  Teutonica,'  op.  24,  for  piano  (1914, 
Moiseivitch,  London). 

Sonata  for  violin  and  piano  (1919,  Zimbalist  and 
the  composer.  New  York).  [  R.9] 

POWELL,  MAUD  (Aug.  22,  1868,  Peru, 
111.  :  Jan.  8,  1920,  Uniontown,  Pa.).  See 
article  in  Vol.  iii.  802.  The  works  with  or- 
chestral accompaniment  which  she  introduced 
in  America  include  Saint-Saens'  Concerto 
No.  2,  in  C,  Tchaikovsky's  Concerto,  Dvofdk's 
Concerto,  Huss'  Concerto,  Shelley's  Concerto, 
Arensky's  Concerto,  Rimsky-Korsakov's  '  Fan- 
tasie  de  Concert,'  Lalo's  Concerto  in  F  minor 
and  'Concerto  Russe,'  Sibelius'  Concerto  in 
D  minor,  Coleridge-Taylor's  Concerto  and 
Bruch's  Concert-Stiick.  She  has  also  brought 
forward  many  works  by  Foote,  Mrs.  Beach, 
Herbert,  Saar,  Kramer,  Bergh,  Tirindelli,  Bur- 
leigh, Grace  White,  Hartmann  and  Cadman. 
Violin-arrangements  or  transcriptions  by  her 
are  published  by  Ditson,  Schirmer,  Breitkopf, 
Carl  Fischer  and  Schuberth. 

From  1905  she  made  annual  concert-tours  in 
America.  A  recent  phase  of  her  work  was  giving 
recitals  in  soldiers'  camps  throughout  the  coun- 
try. This  disclosed  a  gratifying  preference  on 
the  part  of  the  men  for  a  better  class  of  music 
than  had  at  first  been  prescribed.  Her  death 
was  extremely  sudden,  due  to  illness  while 
on  tour.     [  R.7  ] 

POWER,  FRANK  A,  See  Colleges,  3 
(Fairmount  C,  Kan.). 

POWERS,  EDWARD  LEESON  (b.  1872). 
See  Colleges,  2  (Judson  C,  Ala.). 

POWNALL,  Mrs.  (d.  1796).  See  Register, 2. 

POYNER,  VIRGIA.  See  Colleges,  3 
(Arkansas  Cumberland  C). 

PRATT,  JOHN  HARRADEN  (Nov.  20, 
1848,    Freeport,    Me.),    was   first    trained   in 


Portland,  Me.,  by  G.  W.  Marston  in  piano, 
organ  and  harmony.  In  1873  he  went  to 
California,  continuing  in  counterpoint  and 
composition  with  J.  P.  Morgan.  Still  later, 
at  Leipzig,  after  taking  piano  with  Wenzel, 
Coccius  and  Zwintscher,  and  theory  with  Ja- 
dassohn, Alfred  Richter  and  Paul,  he  graduated 
from  the  Conservatory  in  1881.  Returning 
then  to  the  Pacific  Coast,  he  taught  theory 
at  Mills  College  for  a  time  and  at  the  King 
Conservatory  in  San  Jos6,  and  has  been 
organist  at  the  Church  of  St.  Mary  the  Virgin 
(P.  E.)  and  the  First  Jewish  Synagogue  in 
San  Francisco,  besides  serving  many  years 
at  the  Old  People's  Home  and  for  Masonic 
bodies.  He  became  a  fellow  of  the  A.  G.  O. 
in  1888,  and  in  1915  dean  of  the  Northern 
California  Chapter,  as  well  as  president  of 
the  Musicians'  Club  in  San  Francisco  in 
1902-03  and  1910-13.  He  has  written  a  piano- 
trio  in  G,  church-music  and  songs.  [  R.7  ] 
PRATT,  SILAS  GAMALIEL  (Aug.  4, 
1846,  Addison,  Vt.  :  Oct.  30,  1916,  Pitts- 
burgh), was  brought  up  in  Chicago,  where  he 
was  early  a  clerk  in  music-stores  and  began 
training  himself  in  music.  In  1868,  going  to 
Berlin,  he  took  piano  under  Bendel  and  Kullak, 
and  theory  and  composition  under  Wiierst 
and  Kiel.  Injury  to  his  wrists  checked  his 
ambitions  for  a  pianistic  career  and  led  him 
to  emphasize  composition.  His  orchestral 
'Magdalene's  Lament'  (in  one  movement) 
and  the  lyric  opera  'Antonio'  date  from  this 
early  time.  In  1871  he  became  organist  at 
the  Church  of  the  Messiah  in  Chicago,  and  in 
1872  he  was  active  in  organizing  the  Apollo 
Club.  In  1875-77  he  was  again  in  Germany, 
studying  piano  with  Liszt  and  score-reading 
with  Dorn.  His  'Centennial'  Overture  was 
given  on  July  4,  1876,  in  Berlin  under  his 
direction  and  later  at  the  Crystal  Palace  in 
London.  In  1878  he  gave  symphony-concerts 
in  Chicago,  and  in  1882  his  opera  'Zenobia' 
was  there  brought  out.  In  1885  he  produced 
his  'Prodigal  Son'  symphony  and  selections 
from  'Zenobia'  at  the  Crystal  Palace.  In 
1887  the  opera  'Antonio'  (revised  as  'Lucille') 
was  given  in  Chicago.  In  1888-1902  he 
taught  in  New  York,  and  in  1906  established 
an  Institute  in  Pittsburgh.  His  other  operas 
were  'The  Triumph  of  Columbus,'  in  five  acts 
(1892,  New  York)  and  'OUanta, '  in  six  acts, 
the  Ubretto  by  himself.  He  also  wrote  a 
'Lincoln'  Symphony,  the  symphonic  poems 
'Sandalphon'  and  'A  Tragedy  of  the  Deep'  (on 
the  'Titanic'  disaster),  two  suites,  a  'Reverie' 
and  other  orchestral  works,  the  cantata  '  The 
Last  Inca,'  many  choruses,  songs,  etc.  He 
was  author  of  Lincoln  in  Story,  1901,  and 
The  Pianist's  Mental  Velocity,  1903.     [  R.6  ] 

PRATT,    WALDO    SELDEN    (b.    1857). 
See  Register,  6. 


332 


PRESCOTT 


PROTHEROE 


PRESCOTT,  ABRAHAM  (1789-  ?  ).  See 
Register,  3. 

PRESSER,  THEODORE  (July  3,  1848, 
Pittsburgh),  was  an  early  student  at  the  New 
England  Conservatory  in  Boston,  studying 
there  with  Emery,  Whiting,  Parker,  Hill  and 
Lang,  and  later  at  the  Leipzig  Conservatory. 
He  first  taught  at  the  Ohio  Wesleyan  Uni- 
versity, at  Xenia  College  in  Ohio  and  at 
Hollins  Institute  in  Virginia.  In  1876  he 
was  the  leader  in  the  group  that  founded  the 
M.T.N.A.  at  Delaware,  O.  While  in  Vir- 
ginia he  started  'The  Etude,'  which  in  1884 
he  moved  to  Philadelphia  and  which  there 
speedily  grew  to  an  immense  circulation. 
He  also  rapidly  built  up  an  extensive  music- 
business,  which  is  now  one  of  the  largest  in 
the  country.  In  1906  he  established  the 
Presser  Home  for  Retired  Music-Teachers, 
which  is  now  part  of  the  extensive  Presser 
Foundation  (see  following  articles).  He  has 
written  some  piano-studies  and  other  teaching- 
material,  and  has  translated  musical  text- 
books.    [  R.5  ] 

PRESSER  FOUNDATION,  THE,  of  Phil- 
adelphia, was  created  in  1916  by  Theodore 
Presser  to  care  for  various  philanthropic  en- 
terprises in  which  he  had  long  been  inter- 
ested. Its  field  comprises  at  present  the  man- 
agement of  the  Presser  Home  (see  below), 
the  giving  of  scholarships  to  needy  musical 
students  and  the  help  of  deserving  musicians 
in  special  emergencies.  Scholarships  are  now 
offered  in  over  75  institutions,  scattered 
through  27  States,  about  one-eighth  being 
in  the  Middle  States,  one-quarter  in  the  South 
and  the  remainder  in  the  Interior  or  the  West. 
Most  of  the  institutions  are  colleges,  but  a 
few  are  of  university  grade.  Candidates  are 
selected  by  the  officers  of  the  college  in  each 
case.  The  relief  work  is  designed  to  aid  those 
whose  need  and  worthiness  are  fully  established. 
The  whole  purpose  of  the  Foundation,  then,  is 
to  minister  to  the  welfare  of  music-teachers 
as  a  class,  both  beginners  and  veterans.  The 
present  funds  of  the  Foundation  amount  to 
more  than  $1,000,000.  The  president  is 
James  Francis  Cooke. 

PRESSER  HOME  FOR  RETIRED  MU- 
SIC-TEACHERS, THE,  of  Philadelphia,  is 
a  unique  enterprise  in  America,  founded  in 
1906  by  Theodore  Presser.  Its  only  parallel 
is  the  Verdi  Casa  di  Riposa  in  Milan.  Under 
certain  conditions,  including  the  payment  of 
$200,  musicians  without  regard  to  creed  or 
nationality,  men  or  women,  who  are  sixty-five 
years  old  and  have  taught  music  in  the  United 
States  for  not  less  than  twenty-five  years,  can 
be  admitted.  Up  to  1919  there  had  been  53 
admissions,  11  men  and  42  women,  represent- 
ing 21  States  and  also  Canada.  Several  have 
here  come  to  the  end  of  their  days  in  peace. 


The'Home  is  now  established  in  a  superbly  ap- 
pointed building  in  Germantown.  Its  capacity 
is  about  65. 

PRfiVOST,  EUGENE  PROSPER  (1809- 
1872).     See  Register,  3. 

PREYER,  CARL  ADOLPH  (July  28, 
1863,  Pforzheim,  Germany),  gave  his  first 
piano-recital  at  thirteen.  He  studied  at  the 
Stuttgart  Conservatory,  then  with  Navrdtil 
in  Vienna  and  with  Urban  and  Barth  in  Berlin. 
In  1884  he  came  to  America.  In  1889-91  he 
was  music-director  at  Baker  University  in 
Kansas,  and  since  1893  has  been  professor 
of  piano  and  composition  in  the  University 
of  Kansas,  becoming  in  1915  associate-dean 
of  Fine  Arts.  As  pianist  he  has  appeared  with 
leading  orchestras.  His  piano-works  include 
a  Theme  with  Variations,  op.  32,  a  'Nor- 
wegian Dance,'  Canzonetta  and  'Serenade 
Espagnole,'  op.  40,  a  Toccata  and  'Dialogue 
without  Words,'  op.  36,  a  Sonata,  op.  33,  a 
Scherzo  in  B-flat  minor,  'Brook-Nymphs,' 
the  fantasie-pieces  'Consolation,'  'The  Ballet- 
Dancer'  and  'Combat,'  and  numerous  and 
varied  Etudes,  opp.  30,  35,  43-45,  besides  a 
number  of  songs.  Unpublished  are  two  so- 
natas for  piano  and  violin  (A  minor  and  F)^ 
a  sonata  in  F  minor  for  piano,  a  piano-quintet 
in  A  minor,  and  lesser  works  for  piano.    [  R.7  ] 

PRIEST,  WILLIAM.     See  Register,  2. 

PRINCE,  GEORGE  A.,  &  COMPANY,  of 
Buffalo,  was  formed  about  1840  to  make 
melodeons,  soon  becoming  leaders  in  the  trade. 
Prince  made  decided  improvements,  and  in 
1847  Hamlin,  then  one  of  his  workmen,  made 
the  discovery  that  led  to  the  later  reed-organ. 
After  having  made  about  75,000  instruments 
of  both  the  old  and  new  types,  in  1875  the 
fiirm  got  into  financial  difficulties  and  was  dis- 
solved. 

PROPERT,  DAVID.     See  Register,  1. 

PROTHEROE,  DANIEL  (Nov.  24,  1866, 
Ystradgyniais,  Wales),  attended  the  Normal 
College  in  Swansea,  early  became  a  com- 
petitor in  eisteddfods,  and  organized  his  first 
choral  society  at  sixteen.  Coming  to  Scranton, 
Pa.,  in  1886,  he  there  started  the  Cymrodorion 
Musical  Society  (250  voices).  In  1894  he 
moved  to  Milwaukee,  where  in  1899  he  be- 
came conductor  of  the  Arion  Male  Chorus. 
Since  1904  he  has  been  increasingly  active  also 
in  Chicago,  where  he  makes  his  home.  He 
is  music-director  at  the  Central  Church,  at 
the  Loring  Institute  and  at  the  Chicago 
Training  College,  besides  teaching  at  the 
Sherwood  Music  School  and  leading  more 
than  one  choral  society.  His  talent  as  chorus- 
conductor  has  led  to  his  being  several  times 
one  of  the  chief  judges  at  the  National  Eis- 
teddfod in  Wales,  as  well  as  in  competitions 
in  America.  In  1890  he  became  Mus.B.  of 
Toronto  University  and  in  1905  Mus.D,   of 


PSALMODY 


PUBLIC  SCHOOLS 


333 


the  Grand  Conservatory  in  New  York.  He 
has  written  the  symphonic  poem  'In  the 
Cambrian  Hills,'  two  string-quartets,  the 
cantatas  'St.  Peter,'  'A  Song  of  Hope,' 
'The  Story  of  Bethlehem,'  'Lady  Fair' 
(these  for  chorus  and  orchestra),  'Eastertide,' 
'At  the  Cross,'  and  'Children  in  Heaven' 
(allegorical,  for  children),  a  Mass  in  F,  nu- 
merous choruses,  such  as  'The  Nun  of  Nidaros' 
and  'Britons'  (both  for  men's  voices  with 
orchestra),  anthems  and  songs.  He  compiled 
the  Hymnal  for  the  Welsh  Presbyterian  Church 
and  four  books  of  ritual-music  for  the  Scottish 
Rite,  and  has  prepared  courses  on  harmony 
and  chorus-conducting.     [  R.7  ] 

PSALMODY.     See  Tune-Books. 

PUBLIC  SCHOOLS,  MUSIC  IN  THE. 
What  is  now  known  as  'the  public  school 
system'  of  the  United  States  is  only  about  a 
century  old.  Its  establishment  and  the 
working  out  of  its  details  were  processes  that 
occupied  much  time  and  engaged  the  efforts 
of  many  workers  during  the  last  decades  of 
the  18th  and  the  early  part  of  the  19th  cen- 
turies. From  the  earliest  days,  however,  the 
colonists  had  been  alive  to  the  importance 
of  general  education,  as  is  shown  by  the  found- 
ing of  'colleges'  and  some  'academies,'  as 
well  as  by  less  permanent  undertakings  on 
the  part  of  single  communities  and  of  certain 
churches.  As  a  rule,  the  instruction  of  young 
children  was  almost  wholly  left  to  parents 
and  homes,  just  as  it  was  in  England  at  the 
same  period.  But  somewhat  before  1800, 
and  much  more  just  after  it,  a  movement  set 
in  to  arouse  local  communities  to  the  need 
of  elementary  and  secondary  education  of 
a  more  uniform  and  general  character.  This 
was  analogous  to  movements  in  Europe, 
though  perhaps  not  directly  connected  with 
them.  A  difficulty  in  American  conditions 
was  the  strong  instinct  for  local  autonomy, 
which  long  prevented  a  desirable  consoli- 
dation of  effort  over  large  areas,  such  as  whole 
States.  New  England  was  on  the  whole 
ahead  of  other  sections,  but  the  Middle  States 
soon  joined  in  the  movement. ^ 

At  intervals  in  the  ISth  century  the  im- 
portance of  musical  training  for  the  young  was 
recognized.  Thomas  Symmes  urged  it  as 
early  as  1720  in  connection  with  his  plea  for 
singing  by  note.  As  fast  as  'singing-schools' 
sprang  up  they  appealed  to  boys  and  girls 
quite  as  much  as  to  their  elders  —  though 
they  did  not  often  include  little  children. 
In    1753    William   Tuckey   began   classes   for 

1  New  York  had  a  State  Superintendent  of  Schools 
in  1812-21,  and  again  after  1854.  Massachusetts 
had  a  State  Board  of  Education  from  1837.  These 
were  the  pioneers  in  consolidated  administration. 
The  Federal  Government  was  favorable  to  system- 
atic public  education  from  soon  after  the  Revolution, 
but  its  influence  was  confined  to  grants  of  public 
lands  for  school-use. 


'singing-scholars'  in  the  rooms  of  Trinity 
Church  in  New  York.  Adgate's  enterprises 
in  Philadelphia  from  1784  were  in  part  di- 
rected toward  the  culture  of  children.  These 
are  samples  of  efforts  put  forth  here  and  there 
by  individuals.  It  was  not  until  the  idea  of 
a  general  plan  of  popular  education  under 
civic  control  began  to  shape  itself  that  the 
training  of  children  in  song  was  extensively 
undertaken. 

It  was  William  C.  Woodbridge  (1795-1845), 
from  1831  editor  of  a  series  of  Annals  of  Edu- 
cation, who  supplied  the  impetus  for  positive 
advance.  He  had  personally  investigated 
music-teaching  in  schools  as  it  was  developing 
in  Europe,  especially  in  Switzerland  and 
Germany.  He  became  convinced  of  the 
superiority  of  the  Pestalozzian  method,  and 
brought  back  text-books  and  other  material, 
some  of  which  he  translated.  As  Wood- 
bridge  was  a  teacher  in  Hartford,  the  first 
trials  took  place  there  as  early  as  1830  under 
Elam  Ives,  but  of  these  no  record  is  accessible. 
In  that  year  Woodbridge  lectured  in  Boston 
on  'Vocal  Music  as  a  Branch  of  Common 
Education,'  illustrations  being  given  by 
children  trained  by  Lowell  Mason.  The  latter 
was  but  slowly  won  to  accept  the  principles 
enunciated  by  Pestalozzi,  but  finally  adopted 
them  in  full.  These  principles  were  thus 
stated : 

1.  To  teach  sounds  before  signs  —  to  make  the  child 
sing  before  he  learns  the  written  notes  or  their 
names. 

2.  To  lead  him  to  observe,  by  hearing  and  imitating 
sounds,  their  resemblances  and  differences,  their 
agreeable  and  disagreeable  effect,  instead  of  explaining 
these  things  to  him  —  in  short,  to  make  him  active 
instead  of  passive  in  learning. 

3.  In  teaching  but  one  thing  at  a  time  —  rhythm, 
melody,  expression  are  taught  and  practiced  sepa- 
rately before  the  child  is  called  to  the  difficult  task 
of  attending  to  all  at  once. 

4.  In  making  them  practice  each  step  of  each  of 
these  divisions,  until  they  are  master  of  it,  before  passing 
to  the  next. 

5.  The  giving  the  principles  and  theory  after 
practice,  and  as  an  induction  from  it. 

6.  The  analyzing  and  practicing  the  elements  of 
articulate  sound  in  order  to  apply  them  to  music. 

7.  Another  peculiarity,  which  is  not,  however, 
essential  to  the  system,  is  that  the  names  of  the  notes 
correspond  to  those  employed  in  instrumental  music, 
and  are  derived  from  the  letters,  with  variations 
for  flats  and  sharps  —  a  method  whose  utility  is 
questioned  by  some,  but  which  is  deemed  very 
important  by  others.' 

In  January,  1833,  the  Boston  Academy 
of  Music  was  started  by  Mason  at  Wood- 
bridge's  suggestion  and  with  the  help  of  George 
J.  Webb.  In  1834  Mason  issued  his  famous 
Manual,  explaining  the  principles  and  methods 

'  In  later  years  these  principles  were  largely 
disregarded  or  forgotten,  but  it  is  interesting  to  note 
that  the  so-called  modern  'observation'  method 
rests  upon  the  first,  second  and  fifth  of  them. 


334 


PUBLIC  SCHOOLS 


PUBLIC  SCHOOLS 


to  be  used  in  the  Academy's  singing-classes 
for  children  and  youth.  Samuel  A.  Eliot, 
the  president  of  the  Academy,  was  then  on 
the  city  School-Committee  (mayor  in  1837-39) 
and  was  heartily  sympathetic  with  the  move- 
ment to  introduce  music  into  the  public 
schools.  In  1836,  thanks  to  the  efforts  of 
these  advocates,  a  memorial  to  this  effect 
was  laid  before  the  committee,  but  without 
result.  ^A  second  attempt  in  1837  secured 
the  committee's  approval,  but  without  their 
providing  funds  for  the  arrangement.  Mason 
agreed  to  teach  for  a  year  without  salary, 
and  in  October,  1837,  began  work  in  the  Hawes 
School  in  South  Boston.  His  success  was  so 
obvious  that  in  August,  1838,  the  committee 
gave  its  official  endorsement,  putting  Mason 
in  charge  of  music  in  all  the  schools,  with 
A.  N.  Johnson,  G.  F.  Root,  A.  J.  Drake  and 
J.  A.  Johnson  as  assistants.  In  1841  Mason 
resigned  to  devote  himself  to  'conventions' 
and  B.  F.  Baker  succeeded  him.  A  general 
committee  on  music  was  first  appointed  in 
1857.  Music  was  not  taught  in  the  primary 
grades  at  first,  but  was  added  in  1864  by 
L.  W.  Mason.  In  1868  H.  E.  Holt  took  charge 
of  the  lower  grammar  grades,  in  1869  Eichberg 
became  the  first  supervisor,  and  in  1872  music 
was  carried  into  all  the  high  schools  —  thus 
making  the  system  complete. 

In  February,  1836,  the  trustees  of  the  schools 
in  New  York  took  up  the  question  of  music, 
but  decided  to  leave  it  to  the  boards  of  the 
several  schools,  stipulating  that  it  must  not 
involve  expense  or  interfere  with  other  studies. 
In  1840,  '43  and  '47  motions  to  bring  music 
in  were  disapproved.  In  1853  it  was  intro- 
duced, but  without  system.  No  definite 
plan  for  it  was  issued  till  1879,  and,  according 
to  Frank  Damrosch,  it  was  not  really  estab- 
lished till  1898. 

In  1858  the  Boston  School  Committee  made 
an  inquiry  as  to  the  introduction  of  music 
in  other  cities,  the  dates  secured  being  these  — 
Boston,  1838;  Buffalo,  1843;  Pittsburgh, 
1844;  Cincinnati,  1846  (1844?);  Chicago, 
1848 ;  Cleveland,  1851 ;  San  Francisco,  1851 ; 
St.  Louis,  1852.  The  first  teacher  in  Buffalo 
was  Mr.  Hazeltine ;  in  Pittsburgh,  L.  P. 
Lincoln ;  and  in  Cincinnati,  Charles  Aiken 
(succeeded  in  1879  by  his  son,  W.  H,  Aiken, 
who  is  still  in  service). *  Among  later  examples 
mention  may  be  made  of  New  Haven,  Conn., 
where  Benjamin  Jepson  began  teaching  in 
seven  schools  in  January,  1865,  at  first  only 
in  the  upper  grades.  Jepson  published,  at 
his  own  expense,  what  appears  to  have  been 

1  See  paper  by  Frances  M.  Dickey  on  'The  Early 
History  of  Public  School  Music  in  the  United  States,' 
M.T.N. A.  Proceedings,  1913,  where  numerous  de- 
tails are  given.  The  singing  in  Cincinnati  early  be- 
came famous,  and  since  1873  school-choruses  have 
often  taken  part  in  the  biennial  Festivals. 


the    first    Music-Reader.^     He    remained    in 
charge  over  forty-five  years. 

In  1884-85  the  Bureau  of  Education  re- 
ported that  music  was  taught  in  the  public 
schools  of  247  towns  and  cities,  with  some 
90  special  teachers.  Twenty  years  later, 
in  a  Bulletin  of  the  Bureau  (Music- Education 
in  the  United  States,  1908),  the  compiler, 
Arthur  L.  Manchester,  said : 

'Teachers  in  public  schools  are  steadily  seeking  to 
improve  both  the  matter  and  the  method  of  their 
phase  of  music-education,  rectifying  inaccuracies 
of  grading  and  bridging  over  the  chasm  between 
elementary  and  advanced  grades.  The  cultivation 
of  music  in  its  foundational  aspects  and  as  part  of 
the  life  of  the  people  is  being  given  intelligent  con- 
sideration. Pedagogic  principles  as  a  basis  for 
further  development  are  being  given  attention,  and 
the  trend  is  strongly  toward  efficiency,  coordination 
and  cooperation';  adding,  however,  that  'among 
the  defects  in  our  present  scheme  of  music-education 
there  exists  one  of  very  serious  character,  namely, 
a  lack  of  systematic,  wisely-planned,  and  thoroughly 
carried-out  foundational  training.' 

In  1914,  in  introducing  another  Bulletin 
of  the  Bureau  (Music  in  the  Public  Schools, 
compiled  by  Will  Earhart),  Commissioner 
Claxton  said : 

'That  music  plays  an  important  part  in  the  life  of 
a  people  and  should  therefore  have  an  important  place 
in  the  system  of  education  in  any  State  or  nation  has 
been  understood  by  the  foremost  educators  for  three 
thousand  years.  Among  a  practical,  industrial 
and  commercial  people,  like  ourselves,  good  music 
is  necessary  not  only  for  enjoyment  and  recreation, 
but  also  for  inspiration  and  for  salvation  from  death 
in  the  din  and  dust  of  trade ;  and  this  music  should 
be  democratic  in  the  truest  and  best  sense.  Thia 
it  can  never  be  until  it  becomes  an  integral  part  of 
the  education  given  in  the  schools  of  all  grades,  aa 
it  is  in  the  schools  of  some  other  countries.  It  ia 
through  an  increasingly  clear  understanding  of  thia 
fact  that  music,  not  recognized  in  the  course  of  study 
of  our  earliest  public  schools,  has,  within  the  last 
twenty-five  or  thirty  years,  been  introduced  to  some 
extent  into  the  schools  of  most  progressive  citiea 
and  of  many  towns,  villages,  and  country  com- 
munities, though  by  many  it  is  still  considered  un- 
essential and  a  fad.  Sooner  or  later  we  shall  not 
only  recognize  the  culture  value  of  music,  we  shall 
also  begin  to  understand  that,  after  the  beginnings 
of  reading,  writing,  arithmetic  and  geometry,  music 
has  greater  practical  value  than  any  other  subject 
taught  in  the  schools.' 

From  this  report,  presenting  a  detailed 
account  of  conditions  throughout  the  country, 
some  salient  facts  may  be  noted.  In  grades 
below  the  high  school  622  towns  and  cities 
require  music,  and  59  do  not  —  all  but  four 
of  the  622  having  graded  courses.  St.  Louis 
has  700  pianos  to  2194  school-rooms ;  Cincin- 
nati, 250  pianos  to  1000  rooms.  In  the  vast 
majority  of  schools  the  music-teaching  is  done 
by  grade-teachers  under  the  guidance  of  a 
supervisor,    but,    unfortunately,    few    schools 

1  In  1875  a  choral  society  composed  of  333  graduates 
from  these  schools  gave  '  The  C  reation, '  '  The  Messiah' 
and  'Elijah'  under  Jepson's  direction. 


PUBLIC  SCHOOLS 


PUBLIC  SCHOOLS 


335 


require  thorough  preparation  for  this  work. 
In  631  high  schools  189  (30%)  have  no  music 
except  assembly-singing;  442  (70%)  have 
some  music  other  than  assembly-singing. 
238  high  schools  reported  orchestras,  with 
a  total  membership  of  4181  players ;  in  about 
one-third  of  the  schools  credit  is  given  for 
orchestra-playing.  Musical  history  or  ap- 
preciation, or  both,  find  place  in  73  high 
schools,  with  a  student-enrolment  of  7587. 
Harmony  is  taught  to  705  students  in  39 
systems ;  sight-singing  and  elementary  theory 
in  68  schools,  with  14,434  students.  In  10 
States  music  is  required  in  the  grades ;  in  37 
States  music  is  not  required,  but  more  or  less 
adequate  provision  is  made  for  music-teaching 
below  high  school  grades.  Five  States  require 
music  in  high  schools  (Arizona,  Indiana, 
Iowa,  Louisiana  and  Washington)  ;  42  do 
not  require  it,  but  in  these  the  development 
of  high-school  music  is  frequently  equal  to 
that  in  the  others.  17  States  require  ex- 
aminations for  special  teachers  or  super- 
visors ;  only  34  State  institutions  out  of  87 
make  provision  for  training  supervisors. 
The  result  is  that  supervisors  are  trained 
elsewhere  privately  as  musicians,  or  if  in 
normal  schools,  as  teachers  rather  than 
musicians.  While  this  report  suffers  from  the 
usual  failure  of  many  persons  to  respond, 
fully  or  in  part,  to  even  an  important  ques- 
tionnaire, it  is  of  great  valu'e  as  showing 
average  conditions,  and  the  details  of  the 
report  have  been  most  carefully  worked  out. 

In  1916  an  elaborate  and  exhaustive  thesis 
was  prepared  by  Rose  Yont  of  the  University 
of  Nebraska,  and  published  as  Status  and 
Value  of  Music  in  Education.^  This  thesis 
deals  with  music  in  the  public  schools,  normal 
schools,  state  universities  and  colleges,  edu- 
cational extension,  and  general  education ; 
it  also  contains  a  valuable  bibliographical  list. 
The  author  finds  the  number  of  music-super- 
visors to  be  1343  (in  1913),  of  whom  about 
20%  are  men.  The  investigation,  covering 
the  entire  country,  'showed  great  interest 
[among  school  authorities],  emphatic  approval 
of  the  subject  as  a  school  study,  and  a  strong 
desire  to  learn  the  results  of  this  investigation.' 
The  Pacific  States  all  present  the  feverish 
activity  which  characterizes  most  of  the 
North  Central  States.  Progressive  school 
officers  and  educational  leaders  who  favor 
broad  culture  have  pushed  the  subject  to  the 
front  very  rapidly.  California  probably  leads 
the  States  of  the  Union,  in  her  uniform,  de- 
liberately planned  and  systematic  presentation 
of  the  subject.  The  conditions  in  1913 
presented  a  remarkable  and  gratifying  growth, 
except  in  the  Southern  States,  as  compared 
with  similar  data  secured  by  Miss  Yont  in 

1  The  Woodruff  Press,  Liacoln,  Neb.,  353  pp. 


1907.  There  is  a  chapter  on  credit  for  private 
music-lessons  outside  of  school,  with  interest- 
ing statistics  and  the  conclusion  that  the 
people  'are  more  ready  for  the  innovation 
than  school  authorities,  who  fear  to  take  so 
radical  a  step.'  A  careful  estimate  places 
the  sum  paid  in  Nebraska  for  private  music- 
lessons  annually  at  about  $1,000,000,  while 
the  State  paid  out  only  $36,182  for  musical 
instruction.  'This  would  indicate  that  the 
schools  are  not  supplying  public  demands  in 
the  teaching  of  this  subject,  while  further- 
more it  shows  enormous  financial  waste.  The 
same  amount  judiciously  spent  in  the  schools 
would  be  more  than  adequate  to  supply  all  the 
children  with  proper  musical  training.' 

Realizing  the  need  of  more  uniformity  of 
sj'stem  and  requirements,  in  music  as  in  other 
subjects,  the  National  Education  Association 
in  1912  appointed  a  Commission  on  the  Re- 
organization of  Secondary  Education.  The 
committee  on  music  under  this  included 
thirteen  workers  of  national  reputation,  with 
Will  Earhart  as  chairman  and  Osbourne 
McConathy  as  head  of  a  subcommittee  on 
course  of  study.  In  the  preliminary  state- 
ments issued  in  1913  occur  sentences  like 
these : 

'In  common  with  the  other  arts  and  literature, 
and  perhaps  in  a  higher  decree,  music  tends  to 
develop  finer  subjective  life  in  the  individual.' 

'A  course  in  music  that  does  not  promise  to  adjust 
the  learner  in  sympathetic  response  to  the  best  musio 
is  lacking  in  its  proper  quality,  whatever  marks  of 
efficiency  it  may  show.' 

'Failure  to  bring  the  graduates  of  public  schools 
into  sympathetic  relation  with  the  mature  musical 
intelligence  and  interests  of  their  various  com- 
munities is  due  not  so  much  to  shortcomings  in  the 
work  of  the  grades  as  to  neglect  or  sad  misdirection 
of  the  work  in  high  schools.' 

'If  we  would  have  an  adult  public  interested  in  and 
appreciative  of  the  great  music  of  the  masters,  we 
must  have  general  instruction  in  advanced  phases 
of  musical  study.'  'To  the  high  schools  properly 
belongs  the  task  of  articulating  the  music  in  the 
grades  with  the  enlightened  musical  understanding 
and  interest  of  the  community.' 

The  report  of  this  committee,  as  published 
in  a  further  Bulletin  of  the  Bureau  of  Edu- 
cation in  1917,  deals  in  detail  with  methods 
and  results  in  ensemble-singing,  chorus- 
practice,  musical  appreciation,  harmony, 
counterpoint,  orchestra-ensemble,  credit  for 
study  under  outside  teachers,  etc.,  with 
suggestions  as  to  administration.  To  those 
not  familiar  with  what  is  now  being  actually 
done  in  not  a  few  high  schools,  or  who  suppose 
that  all  public  school  work  in  music  has 
remained  as  it  was  fifty  years  ago,  this  report 
will  be  exceedingly  interesting. 

Until  recently  high-school  graduates  were 
not  able  to  use  music  as  a  credit  for  college- 
entrance.  In  the  Proceedings  of  the  Music 
Supervisors'    National    Conference    for    1919 


336 


PUCCINI 


PYCHOWSKI 


is  a  report  on  this  subject  by  Osbourne  Mc- 
Conathy,  Edward  B.  Birge  and  Karl  W. 
Gehrkens,  representing  respectively  the  Super- 
visors' Conference,  the  N.  E.  A.,  and  the  M. 
T.  N.  A.  Through  a  questionnaire  sent  out 
by  the  Bureau  of  Education  they  ascertained 
that,  out  of  412  colleges  replying,  191  allowed 
some  entrance-credit  for  music  —  80  giving 
one  unit  out  of  15  or  16,  and  111  two  or  more 
units.  Furthermore,  out  of  the  412  colleges, 
238  give  credit  toward  the  A.B.  degree  for 
courses  in  music.  The  committee  concludes 
that  entrance-credit  will  be  granted  more  and 
more.  The  rapidity  and  permanence  of  the 
movement  will  depend  upon  the  quality  of 
the  work  done  in  the  secondary  schools. 

The  marked  improvement  in  public  school 
music  since  about  1900  has  been  due  to  the 
combination  of  many  causes,  especially  the 
advance  of  public  opinion  as  reflected  by 
school  authorities  and  the  zeal  and  wisdom 
of  many  teachers  in  the  school  systems.  As 
a  single  index  of  the  growth  in  interest  it  may 
be  noted  that  at  the  first  meeting  of  the 
Supervisors'  Conference  in  1911  the  member- 
ship was  84,  whereas  in  1919  it  was  700. 
The  number  of  institutions  —  normal  schools, 
colleges,  universities  and  conservatories  — 
now  offering  more  or  less  elaborate  courses 
of  training  for  public-school  teaching  is  impres- 
sively large,  implying  both  a  demand  and  a 
purpose.  Hence  large  expectations  for  future 
development  seem  to  be  justified. 

Besides  the  literature  referred  to,  especially 
the  Bulletins  of  the  Bureau  of  Education  and 
Miss  Yont's  elaborate  study,  reference  should 
be  made  to  the  various  volumes  of  the  Pro- 
ceedings of  the  M.  T.  N.  A.,  the  N.  E.  A.,  the 
Supervisors'  Conference  (National  and 
Eastern),  the  successive  volumes  of  'School 
Music,'  'The  Journal  of  Education,'  and 
several  musical  periodicals,  etc. 

t  PUCCINI,  GIACOMO  (Dec.  28,  1858. 
Lucca,  Italy).  See  article  in  Vol.  iii.  847-8, 
and  note  in  v.  660.  Additional  operas  are 
'La  Fanciulla  del  West'  (Dec.  10,  1910,  New 


York),  'La  Rondine'  (1917,  Monte  Carlo), 
and  the  short  'II  Tabarro,'  'Suor  Angelica' 
and  'Gianni  Schicchi'  (Dec.  14,  1918,  New 
York).  'Madama  Butterfly'  was  first  sung 
in  New  York  on  Nov.  12,  1906,  by  the  Savage 
Opera  Company  (in  English)  and  at  tha 
MetropoHtan  Opera  House  on  Feb.  11,  1907. 
On  the  latter  occasion  and  at  the  premiere 
of  'La  Fanciulla  del  West'  the  composer  was 
present.  All  of  his  operas  except  'Edgar' 
and  '  La  Rondine '  have  been  repeatedly  given 
in  America  with  eminent  success.  For  bibh- 
ography  on  Puccini,  see  Baker,  Diet,  of  Mu- 
sicians, p.  728. 

PULITZER,  JOSEPH  (Apr.  10,  1847, 
Budapest,  Hungary  :  Oct.  29,  1911,  on 
board  his  yacht  at  Charleston,  S.  C),  arrived 
in  America  in  1864,  penniless  and  unable  to 
speak  English.  He  served  for  a  year  in  the 
Civil  War  as  a  cavalry  private.  From  1865  he 
was  variously  employed  at  St.  Louis,  where 
from  1867  he  was  a  reporter  for  the  '  Westliche 
Post,'  becoming  in  1871  managing-editor  and 
part-owner.  In  1879  he  combined  two  St. 
Louis  papers  into  the  'Post-Dispatch,'  and  in 
1883  became  owner  of  the  New  York  'World.' 
In  1887,  in  the  full  tide  of  journalistic  success, 
his  health  failed  and  total  blindness  began  to 
come  on.  In  1903  he  founded  the  School  of 
Journalism  at  Columbia  University  with  an 
initial  gift  of  $1,000,000.  At  his  death  he 
signalized  his  lifelong  enthusiasm  for  music 
by  bequeathing  $500,000  to  the  Philharmonic 
Society  of  New  York,  with  the  stipulation 
that  his  favorite  composers,  Beethoven, 
Wagner  and  Liszt,  should  be  frequently  repre- 
sented on  its  programs.     [  R.IO  ] 

PULLER,  S.  D.     See  Tune-Books,   1825. 

'PURITANIA.'  An  opera  by  Edgar  Still- 
man  Kelley,  to  a  text  by  C.  M.  S.  McLellan, 
written  in  New  York  and  produced  in  Boston 
on  June  9,  1892. 

PUTNAM,  CLARENCE  SIMEON.  See 
State  Universities  (N.D.  Agric.  C). 

PYCHOWSKI,  JAN  NEPOMUCENE 
(1818-1900).     See  Register,  4. 


Q 


QUARLES,  JAMES  THOMAS  (Nov.  7, 
1877,  St.  Louis),  was  trained  by  Galloway  (pi- 
ano and  organ),  Vieh  and  Ehling  (piano)  and 
Kroeger  (theory),  and  entered  upon  a  career 
of  great  activity  as  organist.  At  sixteen  he 
served  the  Cook  Avenue  Presbyterian  Church, 
and  in  1897,  on  graduating  from  the  high 
school,  went  to  the  Central  Congregational, 
in  1898  to  the  West  Presbyterian,  giving  his 
first  recitals,  and  in  1900  to  the  Lindell  Avenue 
Methodist,  where  for  thirteen  years  he  gave 
monthly  recitals.  In  1903  he  appeared  at 
the  Louisiana  Purchase  Exposition,  and  also 
became  teacher  at  Lindenwood  College, 
where  he  was  later  dean  of  Fine  Arts.  In 
1905  he  was  made  music-director  at  the 
Cathedral  of  the  Scottish  Rite,  and  in  1907 
at  Moolah  Temple,  organizing  a  band  of 
singers  which  traveled  widely  to  participate 
in  conclaves.  In  1906  he  was  studying  in 
Paris  under  Widor.  In  1907  he  became 
organist    of    the    St.    Louis    Symphony    Or- 


chestra, and  also  founded  the  Choral  Art 
Society,  which  took  up  works  like  Brahms' 
Requiem,  Dvorak's  Stabat  Mater,  Schu- 
mann's 'Paradise  and  the  Peri,'  etc.  In 
1912  he  made  an  extensive  recital-tour  in  the 
East,  and  in  1913  became  university-organist 
at  Cornell  University,  being  made  assistant- 
professor  in  1916.  He  has  given  there  about 
200  educational  recitals,  presenting  almost 
all  the  masterpieces  of  organ-literature.  He 
has  played  at  the  Panama-Pacific  Exposition, 
at  the  first  convention  of  the  A.  G.  O.,  with 
the  Boston  and  Chicago  Orchestras,  and  in 
many  other  notable  relations.  He  has  WTitten 
a  considerable  number  of  songs,  anthems  and 
short  organ-works,  most  of  which  are  unpub- 
lished.    [  R.8  ] 

'QUEST  OF  THE  GORGON,  THE.' 
No.  4  of  the  'Grove-Plays'  of  the  California 
Bohemian  Club,  the  text  by  Newton  J.  Tharp 
and  the  music  by  Theodore  J.  Vogt.  It  was 
produced  in  1905. 


337 


R 


t  RABAUD,  HENRI  BENJAMIN  (Oct.  10, 
1873,  Paris,  France).  He  was  a  pupil  of  Mas- 
senet at  the  Paris  Conservatory,  where  he  won 
the  Prix  de  Rome  in  1894.  He  made  his  debut 
as  conductor  at  the  Opera  in  1908,  in  1914  was 
made  principal  conductor  and  in  1915  be- 
came leader  of  the  Conservatory  Orchestra. 
In  1918-19  he  followed  Muck  as  conductor  of 
the  Boston  Symphony  Orchestra,  resigning  to 
return  to  Paris  as  successor  to  Faur6  in  the 
directorship  of  the  Conservatory.  His  operas 
include  'La  Fille  de  Roland'  (1904,  Opera- 
Comique),  'Marouf,  Savetier  du  Caire'  (1914, 
Opera-Comique) ,  and  music  for  French  versions 
of  '  The  Merchant  of  Venice '  and  '  Antony  and 
Cleopatra'  (1916-17,  Theatre  Antoine)  ;  two 
symphonies,  in  D  minor  and  E  minor  (1895, 
'99)  ;  the  symphonic  poem  '  La  Procession  Noc- 
turne' (1899) ; '  Divertissement  sur  les  Chansons 
Russes'  (1901)  ;  'figlogue'  (1902) ;  the  prize- 
cantata  'Daphne'  (1894);  the  oratorio  'Job' 
(1900),  with  a  lyric  poem  on  the  same  subject 
for  baritone  and  orchestra  (1905) ;  Psalm 
4  for  soli,  chorus  and  orchestra  (1901) ; 
'Hymne  k  la  France  ilternelle,'  from  Hugo 
(1916)  ;  a  string-quartet,  and  an  andante  and 
scherzo  for  flute,  violin  and  piano.  His 
'M&rouf  was  introduced  at  the  Metropolitan 
Opera  House  on  Dec.  19,  1917. 

RACHMANINOV,  SERGEI  VASSILIE- 
VITCH  (Apr.  2,  1873,  Onega,  Russia).  See 
article  in  Vol.  iv.  11-2.  His  grandfather, 
an  excellent  pianist,  was  one  of  John  Field's 
pupils.  He  had  his  first  lessons  from  Anna 
Ornadtskaia,  and  at  Petrograd  studied  under 
Demiansky  and  Cross,  going  thence  to  Moscow 
at  the  suggestion  of  Siloti,  his  cousin.  His 
opera  'Aleko'  was  his  final  exercise  there, 
winning  a  medal,  1893.  For  four  years  he 
was  mainly  busy  with  composition,  as  well  as 
in  1899-1904.  In  1897-98  he  was  private 
opera-conductor  for  Mamontov  in  Moscow. 
In  1904-00  he  directed  the  Moscow  Opera. 
In  190(5-08  he  lived  in  Dresden,  composing 
and  touring  as  pianist.  In  1908-11  he  was 
vice-president  of  the  Russian  Music  Society, 
and  in  1909-10  made  his  first  American  tour 
as  pianist.  In  1912-13  he  led  symphony 
concerts  at  Moscow.  In  1917  he  left  Russia, 
and  late  in  1918  settled  in  New  York.  To 
the  list  of  works  should  be  added  the  one-act 
operas  'The  Miser  Knight'  (1900,  Moscow, 
1910,  Boston)  and  'Francesca  da  Rimini' 
(1906,  Moscow)  ;  Symphony  No.  2,  op.  27 
(1906,  '07);  Symphony  No.  3,  'The  Bells,' 
op.  35  (1912);  the  symphonic  poem  'The 
Island  of  Death,'  after  Bocklin,  op.  29  (1907- 
08) ;  the  3rd  and  4th  Piano-Concertos,  opp. 
30  and  40  (1909,  '17);    a  piano-sonata  in  D 


minor,  op.  28 ;  two  sets  of  Preludes  for  piano, 
opp.  23  and  32;  eight  'Etudes-Tableaux' 
(concert-studies)  for  piano,  op.  39 ;  three  sets 
of  songs,  opp.  21,  26,  34;  12  anthems  on 
early  church  themes ;  a  setting  of  the  Liturgy 
of  St.  Chrysostom  (1910,  Moscow  Synodal 
Choir).  See  Montagu-Nathan,  Contemporary 
Riissian  Composers,  1917,  and  'The  Etude,' 
October,  1919.     [  R.9  ] 

'RAG-TIME.'  See  note  in  Vol.  iv.  16. 
The  term  is  now  not  at  all  confined  to  music 
of  Negro  origin  or  suggestion. 

RAINS,  LEON  (b.  1870).     See  Register,  8. 

RAISA,  ROSA  (b.  1893).     See  Register,  10. 

RALSTON,  FANNY  MARION  (b.  1875). 
See  Register,  3,  and  Colleges,  2  (Rockford 
C,  111.). 

RANDOLPH,  HAROLD  (Oct.  31,  1861, 
Richmond,  Va.),  studied  at  the  Peabody 
Conservatory  in  Baltimore,  chiefly  under 
Mme.  Falk-Auerbach  and  Faelten  for  piano 
and  Hamerik  for  composition.  He  first 
appeared  as  pianist  with  the  Peabody  Sym- 
phony Orchestra  in  1885,  being  perhaps  the 
first  player  both  American-born  and  American- 
trained  to  receive  general  recognition.  He 
has  been  soloist  with  all  the  leading  orchestras 
and  chamber-ensembles,  and  with  Ernest 
Hutcheson  has  given  many  recitals  for  two 
pianos.  In  1885-90  he  was  organist  at  the 
Baltimore  (R.C.)  Cathedral,  and  in  1890- 
96  at  Emmanuel  (P.E.)  Church.  He  early 
began  to  teach  at  the  Peabody  Conservatory, 
and  in  1898  succeeded  Hamerik  as  director. 
His  administration  has  been  marked  by 
remarkable  energy  and  success.  Among  other 
undertakings,  he  has  organized  a  Bach  Choir, 
which  has  given  Bach's  St.  Matthew  Passion, 
Beethoven's  Missa  Solemnis  and  much  a 
cappella  music.     [  R.7  ] 

RAPPOLD,  MARIE  (1880?,  Brooklyn), 
was  trained  by  Saenger  and  early  sang  in 
church  and  concert.  A  chance  hearing  by 
Conried  led  to  her  appearing  at  the  Metro- 
politan Opera  House  as  Sulamith  in  'Die 
Konigin  von  Saba'  in  1905.  Her  success 
was  immediate,  and  she  has  since  sung  at 
the  Metropolitan  almost  every  season,  taking 
r61es  like  Aida,  Desdemona,  Marguerite  (in 
'Faust'),  Eurydice,  Venus,  Elizabeth,  Micaela, 
Inez,  Elsa  and  the  Princess  (in  'Lobetanz'). 
In  1906  she  separated  from  her  husband  so  as 
to  continue  her  stage-work,  and  in  1913  married 
the  tenor  Rudolf  Berger.     [  R.9  ] 

RATH,  ERICH.  See  Colleges,  2  (Hol- 
lins  C,  Va.), 

RAUSCH,  FREDERICK.     See  Register,  2. 

t  RAVEL,  MAURICE  (Mar.  7,  1875,  Ci- 
boure,  France).     See  article  in  Vol.  v.  660-1 


338 


RAYMOND 


REINAGLE 


339 


During  the  war  he  spent  two  years  at  the 
front.  To  the  list  of  works  add  the  ballets 
'Daphnis  et  Chloe,'  'La  Mere  I'Oye'  (after  a 
piano-suite  of  five  'pieces  enfantines')  and 
'Adelaide'  (after  his  'Valses  Nobles');  a 
'Serenade  Grotesque,'  a  Menuet  on  the  name 
of  Haydn,  'Valses  Nobles  et  Sentimentales,' 
a  Prelude,  and  the  Suite,  'Le  Tombeau  de 
Couperin '  —  all  for  piano  ;  the  songs  '  Ballade 
de  la  Reine  Morte  d' Aimer,'  'Un  Grand 
Sommeil  Noir,'  'Si  Morne,'  'Manteau  de 
Fleurs,'  'Trois  Po^mes'  from  Mallarme,  for 
voice,  piano,  flutes,  clarinets  and  strings,  and 
'Vocalise  en  forme  d'Habanera' ;  and  piano- 
transcriptions  of  Debussy's  Nocturnes  and 
'  L'Apr^s-midi  d'un  Faune.'  See  Jean-Aubry, 
French  Music  of  To-day,  1919. 

RAYMOND,     GEORGE    LANSING     (b. 
1839).     See  Register,  8. 

READ,  ANGELO  McCALLUM  (May  22, 
1854,  near  St.  Catherines,  Ont.),  had  his 
general  education  at  the  Collegiate  Institute 
in  St.  Catherines  and  early  musical  training 
in  the  United  States.  He  spent  five  years 
at  Leipzig  under  Reinecke,  Richter,  Jadas- 
sohn, Maaa  and  Papperitz,  with  one  year  in 
Vienna  for  Leschetizky  methods.  He  ap- 
peared as  organist,  composer  and  conductor  at 
Leipzig  in  1883.  Making  his  home  at  Buffalo 
since  1894,  he  has  conducted  choral  societies 
there,  at  St.  Catherines  and  at  Hornell,  N.  Y., 
besides  acting  as  guest-conductor  elsewhere. 
He  is  music-director  at  Ridley  College  in  St. 
Catherines  and  at  d'Youville  College  in 
Buffalo.  He  has  written  the  dramatic  cantata 
'David's  Lament,'  op.  15,  for  soli,  chorus, 
orchestra  and  organ  (1903,  St.  Catherines 
Festival)  (Schirmer)  ;  'A  Song  of  the  Nativity,' 
op.  12,  for  tenor,  women's  quartet,  chorus  and 
organ  (Schirmer)  ;  the  Lenten  cantata  'It  is 
Finished,'  op.  17  (Gray)  ;  'O  Salutaris  Hostia,' 
for  voice,  violin  and  organ  (1893,  St.  Ann's, 
Vienna)  ;  'Ave  Verum  Corpus,'  in  canon-form 
a  cappella  (twice  given  at  Leipzig)  ;  the 
'Oriska  Waltz,'  op.  4,  originally  for  piano,  but 
also  for  orchestra ;  many  piano-pieces,  songs, 
choruses  and  anthems.  He  has  unpublished 
an  oratorio,  a  Mass  in  B-flat,  several  over- 
tures, etc.  He  is  an  expert  botanist,  and  has 
written  articles  on  both  musical  and  botanical 
subjects.     [  R.8  ] 

READ,  DANIEL  (1757-1836).  See  Reg- 
ister, 2,  and  Tune-Books,  1785. 

READ,  JOEL  (1753-  ? ).  See  Tune-Books, 
1808. 

REDMAN,  HARRY  NEWTON  (b.  1869). 
See  Register,  8. 

REED,  EPHRAIM.  See  Tune-Books, 
1820. 

REED,  FRANK  LeFEVRE  (b.  1871). 
See  Register,  8,  and  State  Universities 
(Tex.). 


REED,   M,  ELLERY.     See   Colleges,   3 
(Beaver  C,  Pa.). 

REED-ORGAN.  American  ingenuity  has 
been  peculiarly  productive  in  developing  the 
possibilities  of  the  'harmonium'  or  that  form 
of  organ  which  employs  only  small  free  reeds 
as  tone-producers.  The  first  experiments 
were  made  before  1820.  At  least  as  early 
as  1845  the  French  system  of  forcing  the  air 
out  through  the  reeds  was  replaced  by  the 
distinctively  American  system  of  drawing 
it  in  by  suction.  The  bellows,  however,  at 
first  was  single  and  the  air-pressure  fluctuating. 
The  name  'melodeon'  was  early  adopted 
(popularly  corrupted  into  'melodium'),  and 
the  form  used  resembled  a  small  square  piano. 
There  were  usually  only  one  or  two  sets  of 
reeds,  and  the  tone-quality  was  monotonous. 
About  1850  Emmons  Hamlin,  then  working 
for  George  A.  Prince  &  Co.,  of  Buffalo,  dis- 
covered that  twisting  and  bending  the  tongues 
of  the  reeds  produced  decided  improvement 
in  their  tone,  not  only  in  power,  but  in  variety 
of  quality.  In  1854  he  joined  Henry  Mason 
in  forming  the  Mason  &  Hamlin  Co.,  of 
Boston,  who  speedily  became  the  pioneers 
in  developing  instruments  of  unexampled 
breadth  of  effect.  They  put  forth  the  'organ- 
harmonium'  in  1855  and  the  'cabinet  organ' 
in  1861  —  the  latter  deriving  its  name  from 
the  fact  that  the  case  extended  to  the  floor. 
The  use  of  a  double  bellows  greatly  improved 
the  air-supply,  and  variations  in  loudness 
were  secured  either  by  an  'automatic  bellows' 
or  a  'knee-swell'  that  controlled  a  lid  on  the 
box  inclosing  the  reeds.  From  that  time 
improvements  were  rapid,  so  that  cabinet 
organs  became  artistically  and  commercially 
important.  They  were  often  made  with 
many  sets  of  reeds,  differently  voiced,  with 
two  keyboards,  with  a  pedal-keyboard,  etc. 
Other  manufacturers  took  up  the  business  on  a 
large  scale,  and  the  use  of  reed-organs  in  homes, 
churches,  lodges  and  similar  assembly-places 
became  widespread.  See  H.  L.  Mason,  History 
and  Development  of  theAmerican  Cabinet  Organ, 

A  peculiar  early  variety  was  the  'lap-organ' 
or  'rocking-melodeon,'  developed  before  1850. 
especially  in  New  Hampshire,  in  which  the 
bellows  rested  on  the  player's  knees  and  was 
worked  by  pressing  with  one  or  both  arms, 
while  the  reeds  were  controlled  by  a  keyboard 
more  or  less  like  that  of  an  accordion.  The 
'  vocalion,'  introduced  about  1890,  uses  pressure 
instead  of  suction  and  has  large  reeds  with 
special  air-chambers  attached. 

See  articles  in  Vols.  i.  77-8,  ii.  302-5,  and  v. 
360-1. 

REINAGLE.  ALEXANDER  (1756,  Ports- 
mouth, England  :  Sept.  21,  1809,  Balti- 
more). See  note  in  Vol.  iv.  57.  He  was  a 
pupil  of  Raynor  Taylor.     He  came  to  New 


340 


REMMERTZ 


RICHARDSON 


York  in  1786,  soon  moved  to  Philadelphia, 
where  he  remained  except  for  the  year  1788-89 
spent  in  New  York.  He  promptly  became 
a  leader  in  all  musical  affairs,  being  an  ex- 
cellent pianist,  singer,  conductor,  composer 
and  operatic  manager.  With  Thomas  Wig- 
nell,  in  1793  he  formed  a  stock-company  in 
Philadelphia,  erected  the  New  Theatre  on 
Chestnut  Street,  which  was  opened  early  in 
1794,  and  was  pianist  in  the  orchestra.  Both 
plays  and  operas  were  given  here  for  many 
years.  Of  the  quality  of  his  musicianship 
there  is  evidence  in  a  few  sonatas  that  are  in 
the  Library  of  Congress.  He  wrote  new 
accompaniments  and  sometimes  an  overture 
for  the  musical  plays  that  were  brought  from 
England.  In  1795  for  some  reason  he  pro- 
vided new  music  for  'The  Sicilian  Romance,' 
whifh  had  previously  been  given  in  England 
with  music  by  William  Reeves.  In  1796  he 
furnished  an  overture,  songs,  choruses  and 
recitatives  for  the  pantomime  'The  Witches 
of  the  Rock.'  See  Sonneck,  Early  Concert- 
Life,  Early  Opera  (portrait  on  p.  118  and 
interior  of  the  Chestnut  Street  Theatre  at 
p.  113),  and  'Early  American  Operas'  in 
I.  M.  G.  Sammelbde,  6.  465,  486-9.     [  R.2  ] 

REMMERTZ,  FRANZ  (1845?-  ?  ).  See 
Register,  5. 

REMY,  ALFRED  (Mar.  16,  1870,  Elber- 
feld,  Germany),  was  brought  to  New  York 
in  1882,  attended  the  public  schools  and 
graduated  from  the  College  of  the  City  of 
New  York  in  1890.  He  pursued  post-graduate 
studies  in  Germanic  philology  and  literature 
at  Columbia  University,  where  he  was  made 
A.M.  in  1905.  In  1890-96  he  studied  piano 
and  theory  with  Klein  and  part  of  this  time 
violin  with  Charles  Palm.  In  1895-97  he 
was  music-critic  for  '  Vogue '  and  '  The  Looker- 
On,'  and  taught  harmony  at  the  International 
Conservatory,  and  in  1896-98  lectured  on 
music-history  at  the  College  of  Music.     Since 

1901  he  has  been  on  the  staff  of  the  Inter- 
national Encyclopaedia,  writing  many  articles 
on  musical  subjects  and  since  1907  preparing 
extremely  valuable  summaries  of  musical 
events  for  the  International  Year-Book.  In 
1906-15  he  was  extension-lecturer  at  Columbia, 
and  since  1897  has  also  been  instructor  in 
languages  in  several  institutions.  In  1915 
he  undertook  the  editing  of  the  3rd  edition 
of  Baker's  Dictio7iary  of  Musicians,  1919.     In 

1902  he  married  Egbertina  Wilterdink,  a  fine 
pianist,  with  whom  he  has  given  lecture-recitals, 
chiefly  on  Wagner.  His  compositions,  all  writ- 
ten before  1896,  include  an  opera,  'Hjordis,' 
based  on  Ibsen's  'Vikings  of  Helgoland,'  an  In- 
termezzo for  orchestra, '  Elfenreigen '  for  strings, 
several  vocal  and  some  piano-pieces.     [  R.8  ] 

RENWICK,  LLEWELLYN  LARAWAY 
(b.  1876).     See  Register,  8. 


REUSS,  EDUARD  (1851-1911).  See  Reg- 
ister, 7. 

REYNOLDS,  WALTER  GUERNSEY  (b. 

1873).     See  Register,  8. 

RICE,  FENELON  B.  (Jan.  2,  1841,  Greens- 
burg,  O.  :  Oct.  6,  1901,  Oberlin,  O.),  from 
about  1861  studied  in  Boston  under  Tufts,  B. 
F.  Baker  and  Edwin  Bruce.  In  1863-67  he 
was  in  charge  of  the  music-department  of 
Hillsdale  College  in  Michigan,  and  then  went 
to  Leipzig  for  two  years  with  Papperitz, 
Moscheles,  Richter  and  Plaidy.  From  1871 
till  his  death  he  was  director  of  the  Oberlin 
Conservatory,  creating  the  faculty  and  the 
ideals  that  raised  it  into  national  importance. 
He  was  gifted  in  organization  and  in  peda- 
gogical foresight,  as  well  as  in  a  fine  idealism 
of  mind  and  spirit.  In  1880-81  he  was  presi- 
dent of  the  M.T.N. A.  Hillsdale  College  made 
him  Mus.D.  in  1882.     [  R.6  ] 

RICE,  JOHN.     See  Register,  1. 

RICE,  WILLIAM  GORHAM  (b.  1856). 
See  Register,  10. 

RICH,  THADDEUS  (Mar.  21,  1885,  Indian- 
apolis), after  training  from  his  father  and  other 
local  teachers  in  1897-1900  studied  at  the  Leip- 
zig Conservatory  under  Hilf.  In  1901-02  he 
played  in  the  Gewandhaus  Orchestra  under 
Nikisch,  and  then  worked  under  Joachim  in  Ber- 
lin ior  two  years.  In  1903-05  he  was  concert- 
master  at  the  Opera  des  Westens  there,  with 
some  concertizing,  and  then  returned  to  Amer- 
ica. Since  1906  he  has  been  concertmaster  of 
the  Philadelphia  Orchestra.  In  addition  to 
some  appearances  in  concert,  he  has  been  ac- 
tive in  presenting  chamber-works,  and  is  dean 
of  the  music-department  of  Temple  University, 
which  made  him  Mus.D.  in  1913.     [  R.9  ] 

RICHARDSON,  ALFRED  MADELEY 
(June  1,  1868,  Southend-on-Sea,  England), 
though  the  son  of  a  Congregational  minister, 
was  educated  at  Keble  College,  Oxford,  where 
he  gained  a  scholarship  in  1885  and  became 
B.A.  in  1889,  M.A.  in  1890,  Mus.B.  in  1888 
and  Mus.D.  in  1897.  He  was  also  president 
of  the  University  Musical  Club  and  of  Keble 
College  Musical  Society,  and  in  1889  took  the 
Phillpotts  Theological  Prize.  From  1889  he 
was  organist  in  Worcester,  in  1891-92  in  Lon- 
don, in  1892-97  in  Scarborough,  and  from 
1897  at  St.  Saviour's  in  Southwark  (London), 
which  in  1905  became  the  cathedral  of  a  new 
diocese.  Here  he  developed  choir-services  of 
great  beauty  and  dignity,  including  a  unique 
treatment  of  the  Psalms  and  a  cappella  Pal- 
estrina  music.  From  1905  he  was  in  much 
request  as  lecturer  before  Church  Congresses 
and  elsewhere,  and  as  judge  at  Eisteddfodau 
and  other  contests.  He  also  gave  organ- 
recitals  and  led  various  choral  societies.  In 
1909  he  was  induced  to  come  to  America, 
first  as  organist  at  St.   Paul's  in  Baltimore 


RICHARDSON 


ROBBINS 


341 


and  since  1912  as  instructor  in  theory  at  the 
Institute  of  Musical  Art  in  New  York.  He  has 
WTitten  many  organ-pieces,  anthems  and 
part-songs,  edited  Communion  Services  by 
Tallis  and  Merbecke,  and  published  Choir- 
Training,  1897,  Church  Music  for  the  Clergy, 
1902,  The  Psalms,  their  Structure  and  Musical 
Rendering,  1903,  The  Southwark  Psalter,  1904, 
Modern  Organ- Accompaniment,  1907,  Extem- 
pore-Playing, The  Choir-Trainer's  Art,  1914 
and  The  Southwark  Canticles,  1918.     [  R.9  ] 

RICHARDSON,  NATHAN  (1827-1859). 
See  Register,  4. 

RICHINGS,  CAROLINE  [Mrs.  Bernard] 
(1827-1882).     See  Register,  4. 

RIDER-KELSEY,  CORINNE  (b.  1879). 
See  Register,  9. 

t  RIEMANN,  Ej^RL  WILHELM  JULIUS 
HUGO  (July  18,  1849,  Grossmehlra,  Ger- 
many :  July  11,  1919,  Leipzig).  See  article 
in  Vol.  iv.  95-6.  His  original  publications 
from  1900  include  Vademecum  der  Phrasierung, 
1900  (2nd  ed.,  1911),  Die  Elemente  der  musikal- 
ischen  Aesthetik,  1900,  Epochen  und  Heroen  der 
Musikgeschichte,  1900,  Geschichte  der  Musik 
seit  Beethoven,  1901,  Handbuch  der  Musik- 
geschichte, 5  parts,  1901,  '05,  '07,  '11,  '13 
(musical  examples,  1912),  Grosse  Komposi- 
tionslehre,  3  vols.,  1902,  '03,  '13,  System  der 
Musikalischen  Rhythmik  und  Meirik,  1903, 
Grujidriss  der  MusikxvissenscJmft,  1908  (2nd  ed., 
1915),  Kleines  Handbuch  der  Musikgeschichte, 
1908  (2nd  ed.,  1915),  Die  byzantinische  Noten- 
schrifl  im  10.-15.  Jahrhundert,  2  vols.,  1909, 
'15,  and  Kompendium  der  Notenschriftkunde, 
1910,  besides  many  introductions,  analyses 
and  detached  articles.  The  8th  edition  of  his 
Musiklexikon  was  issued  in  1916.  Altogether, 
he  stands  out  as  the  most  commanding  figure 
in  the  fields  of  research  to  which  he  devoted 
himself. 

RIEMENSCHNEIDER,  ALBERT  (b. 
1878).  See  Register,  8,  and  Colleges,  3 
(Baldwin-Wallace  C,  Ohio). 

RIGBY,  RALPH.  See  Colleges,  3  (Berea 
C,  Ky.). 

RILEY,  E.     See  Tune-Books,  1817. 

RILEY,  HERBERT  (b.  1888).  See  Reg- 
ister, 10. 

t  RIMSKY-KORSAKOV,  NICHOLAI AN- 
DREIEVITCH  (Mar.  18,  1844,  Tikhvin, 
Russia  :  June  21,  1908,  Liubensk,  near 
Petrograd).  See  article  in  Vol.  iv.  102-5, 
and  note  in  Vol.  v.  661.  In  1907  he  con- 
ducted the  Russian  music-festival  in  Paris, 
and  was  made  a  corresponding  member  of 
the  Academic.  To  the  list  of  works  add  the 
opera  'Le  Coq  d'Or'  (1910,  Moscow,  1918, 
New  York),  a  string-sextet  and  a  quintet 
for  piano,  flute,  clarinet,  horn  and  bassoon. 
He  published  The  History  of  my  Musical  Life, 
1909,  Collected  Musical  Essays  and  Sketches, 


1911,  and  The  Foundations  of  Instrumentation, 
2  vols.,  1913  (French  translation  by  Calvo- 
coressi,  1914).  See  biography  by  Montagu- 
Nathan,  1917,  and  his  History  of  Russian  Music 
and  Newmarch's  The  Russian  Opera,  both  1915. 

RING,  EDYTHE  M.  See  Colleges,  3 
(Juniata  C,  Pa.). 

RIO,  ANITA  (b.  1880).     See  Register,  9. 

RIPPE,  MABEL  A.  See  Colleges,  3 
(Wheaton  C,  lU.). 

'RIP  VAN  WINKLE.'  Operas  on  this 
theme  have  been  produced  by  George  F. 
Bristow  in  1855,  by  Jules  Jordan  in  1898 
(published),  and  by  Reginald  De  Koven  in 
1920.  The  last  was  his  final  work,  produced 
in  Chicago  just  before  his  death  and  in  New 
York  just  afterward. 

RITTER,  FANNY,  n6e  Raymond  (1840- 
1890).     See  Register,  6. 

RITTER,  FRfiD^RIC  LOUIS  (June  22, 
1834,  Strassburg,  Alsace  :  July  22,  1891, 
Antwerp,  Belgium).  See  article  in  Vol.  iv, 
109.  Although  his  Music  in  America  (1883) 
was  in  many  ways  useful,  especially  in  calling 
attention  to  a  neglected  subject,  yet  he  was 
quite  unfitted  by  sympathy  to  treat  it  ade- 
quately, so  that  many  of  his  statements  are 
open  to  dispute.  To  his  publications  should 
be  added  his  appendix  to  The  Realm  of  Tones, 
1883,  with  biographies  of  American  mu- 
sicians. Music  in  Relation  to  Intellectual  Life, 
1891,  and  Musical  Dictation.     [  R.4  ] 

RITTMEISTER,  HEINRICH  (b.  1881). 
See  Register,  9. 

RIVAFINOLI.     See  Register,  3. 

RIVARDE,  SERGE  ACHILLE  (b.  1865)- 
See  Vol.  iv.  110,  and  Register,  7. 

RTVA  CAROLINE,  n6e  Staub  (1822-1882). 
See  Register,  4. 

RIVfi-KING,  JULIE  (Oct.  31,  1857, 
Cincinnati),  began  piano-lessons  with  her 
mother  and  played  in  public  at  eight.  In 
1866-72  she  studied  in  New  York  with  Mason 
and  Mills,  and  in  1872  went  to  Reinecke  in 
Leipzig.  There  she  made  her  debut  in  1874, 
playing  Beethoven's  3rd  Concerto.  After 
some  study  with  Liszt,  she  appeared  in  1875 
with  the  New  York  Philharmonic  Society. 
She  has  since  given  over  4000  concerts  ana 
recitals,  more  than  500  of  them  with  orchestra. 
She  traveled  as  soloist  with  both  Thomas 
and  Seidl.  Her  repertoire  is  very  largo 
and  comprehensive,  and  she  has  introduced 
many  works  in  America.  Some  of  her  piano- 
pieces  have  won  much  acceptance,  such  as 
'Bubbling  Spring,'  'Polonaise  Heroique'  and 
the  Impromptu  in  A-flat.  In  1876  she  married 
Frank  H.  King  of  Milwaukee.  For  some 
years  she  has  taught  in  the  Bush  Conservatory 
in  Chicago.     [  R.6  ] 

ROBBINS,  CHARLES.  See  Tune-Books, 
1805. 


342 


ROBERTS 


ROGERS 


ROBERTS,  ELI.     See  Tune-Books,  1812. 

ROBESON,  LILA  P.  (b.  1880).  See  Reg- 
ister, 9. 

ROBINSON,  CLARENCE  CRAMER  (b. 
1879) .     See  State  Universities  (Pa.  State  C.) . 

ROBINSON,  FRANKLIN  WHITMAN 
(June  27,  1875,  New  York),  studied  first  at 
the  National  Conservatory  under  Joseffy 
(piano),  Johnstone  and  Wetzler  (organ),  and 
Dvorak  and  Spicker  (theory).  In  1895  he 
graduated  at  the  College  of  the  City  of  New- 
York,  and  in  1907  took  an  A.M.  in  music  at 
Columbia  under  MacDowell  and  Rybner,  In 
1897-1908  he  taught  in  the  High  School  of  Com- 
merce, from  1897  was  assistant-organist  at  St. 
Bartholomew's  and  in  1904-17  organist  at  St. 
Luke's  in  Philadelphia,  and  since  1908  has  been 
instructor  at  the  Institute  of  Musical  Art  in  New 
York.  Here  he  has  developed  an  original  course 
in  teaching  harmony  through  the  ear,  publishing 
Aural  Harmony,  2  vols.,  1918.     [  R.8  ] 

ROBINSON,  JENNIE  ASENATH.  See 
Colleges,  3  (Fisk  U.,  Tenn.). 

ROBYN,  ALFRED  GEORGE  (b.  1860). 
See  Register,  6. 

ROCHESTER  ORCHESTRA,  THE,  whose 
present  name  dates  from  1912,  was  founded 
in  1900  by  Hermann  Dossenbach  and  at  first 
called  by  his  name.  He  has  been  its  only 
conductor.  The  force  consists  of  60-65 
players,  a  few  of  whom  are  regularly  supplied 
from  outside  of  Rochester.  The  concert- 
master  is  Arthur  Hartmann.  Behind  the 
enterprise  stands  a  group  of  guarantors,  who 
meet  a  deficit  of  from  $6000  to  $10,000  per 
year.  Six  concerts  are  regularly  given  in 
each  season,  making  about  100  since  organi- 
zation. A  strong  selection  of  standard  works 
have  been  performed,  including  the  follow- 
ing: 

Three  Symphonies  by  Mozart,  eight  by  Beethoven, 
three  by  Schubert,  four  by  Schumann,  Raff's  '  Im 
Walde,'  Franck's  D  minor,  Goldmark's  'Rustic 
Wedding,'  three  by  Tchaikovsky,  Stanford's  'Irish,' 
Borodin's  'Prince  Igor,'  four  of  Saint-Saens'  Sym- 
phonic Poems,  Tchaikovsky's  3rd  Suite,  Massenet's 
music  for  'Les  Erinnyes,'  Grieg's  'Sigurd  Jorsalfar,' 
'Peer  Gynt'  and  'Holberg'  Suites,  Rimsky-Korsa- 
kov's  'Scheherazade,'  Charpentier's  'Impressions 
of  Italy,'  MaoDowell's  two  Suites,  Sibelius'  'Swan 
of  Tuonela'  and  'Finlandia';  besides  most  of  the 
favorite  overtures  and  numerous  extracts  from 
Wagner. 

ROCHESTER  SYMPHONY  ORCHES- 
TRA, THE,  began  in  1901  through  the  efforts 
of  Dr.  Justin  H.  Schopp  and  some  members 
of  the  earlier  Philharmonic  Orchestra,  an  ama- 
teur organization  led  by  Henri  Appy.  Like  its 
predecessor,  it  is  composed  of  amateurs.  At 
its  concerts  a  few  professionals  are  added,  bring- 
ing the  number  to  about  70.  Ludwig  Schenck 
has  been  conductor  from  the  first.  Three  con- 
certs are  given  annually.     In  earlier  years  the 


Orchestra  appealed  to  the  public  in  the  usual 
way.  But  in  1907,  by  the  aid  of  public-spirited 
friends  and  the  cooperation  first  of  the  Board  of 
Education  and  later  of  the  city,  it  was  enabled 
to  make  its  concerts  entirely  free.  For  a 
time  they  were  given  in  the  East  and  West 
High  Schools,  but  were  soon  transferred  to 
the  city  Convention  Hall.  The  success  of 
this  venture  resulted  in  sundry  other  musical 
enterprises  on  the  part  of  the  city  authorities 
for  popular  inspiration.  Among  the  larger 
works  undertaken  are  the  following : 

Four  symphonies  by  Haydn,  two  by  Mozart, 
Beethoven's  1st,  2nd,  5th  and  8th,  two  by  Schubert, 
Mendelssohn's  'Scotch,'  Raff's  'Lenore,'  Svendsen's 
4th  and  Cowen's  'Welsh';  suites  by  Purcell,  Bach, 
Saint-Saens,  Philipp  Scharwenka,  Grieg,  Massenet, 
Tchaikovsky,  Bizet  and  German ;  concertos  by 
Bach,  Handel,  Mozart,  Schumann,  Chopin,  Grieg 
and  Lalo.  In  one  of  the  early  years  there  was  a 
first  performance  of  Hans  Ebell's  Concerto  in  F 
minor,  the  composer  at  the  piano. 

ROEDER,  MARTIN  (1851-1895).  See 
Register,  8. 

ROGERS,  CLARA  KATHLEEN,  nee  Bar- 

nett  (b.  1844).     See  Register,  6. 

ROGERS,  FRANCIS  (b.  1870).  See  Reg- 
ister, 8. 

ROGERS,  JAMES  HOTCHKISS  (Feb.  7, 
1857,  Fair  Haven,  Conn.),  began  his  edu- 
cation at  Lake  Forest  Academy  in  Illinois. 
He  took  up  music  in  Chicago  with  Towne 
and  Eddy,  and  in  1875  went  abroad  for  five 
years,  studying  in  Berlin  with  Loeschhorn, 
Ehrlich,  Rohde  and  Haupt,  and  in  Paris  with 
Fissot,  Guilmant  and  Widor.  After  a  year 
in  Burlington,  la.,  in  1883  he  settled  in  Cleve- 
land, where  he  is  organist  of  the  Euclid  Avenue 
Temple  and  the  First  Unitarian  Church, 
conductor  of  the  Rubinstein  Club  and  critic 
for  the  'Plain-Dealer.'  He  has  been  notably 
successful  in  composition.  Among  his  works 
are  the  following : 

Songs:  'At  Parting,'  'The  Star,'  'Wind-Song,' 
'Love's  on  the  Highroad,'  'Autumn,'  'Wind  and 
Lyre,'  'A  Love-Note,'  'Invocation,'  'Sea-Fever,' 
'Absence,'  'Wild  Geese,'  'War,'  'Jewels,'  'Love  has 
Wings,'  'Five  Quatrains  from  the  Ruhdiydt,''  'Winter- 
Song,'  'Great  Peace  have  They,'  'Ecstasy,'  'Rend 
your  Hearts'  and  'Julia's  Garden.' 

Part-Songs:  (men's  voices)  'The  Name  of  France,' 
'A  Chant  of  Love  for  England,'  'Bedouin  Love- 
Song,'  'It  is  She,'  'Red  Rose,  Red  Rose';  (women's 
voices)  'The  Snow-Storm, '  'The  night  has  a  thousand 
eyes,'  'A  Song  of  the  Gloaming,'  'My  luve  is  like 
the  red,  red  rose,'  'Three  Fishers'  and  'The  Two 
Clocks.' 

Anthems:  'The  Earth  is  the  Lord's,'  'Doth 
not  Wisdom  cry,'  'Show  me  Thy  ways,'  'Seek  Him 
that  maketh  the  seven  stars,'  'Awake  up,  my  glory,' 
'The  Lord  is  my  Strength,'  'Sing,  O  sing  this  blessed 
morn,'  'Beloved,  if  God  so  loved  us,'  'Search  me, 
O  God'  and  'The  Lord  is  my  Light.' 

Cantatas:  'The  Man  of  Nazareth'  and  'The 
New  Life.'  Also  Morning  and  Evening  Services, 
and  for  New  Year's  Eve  for  the  Synagogue. 


ROLLER 


ROSEN 


343 


For  organ :  Sonata  in  E  minor,  Suites  in  G  minor 
and  F  minor,  Concert-Overture  in  B  minor.  Grand 
Choeur,  Christmas  Pastorale,  Arioso,  Processional 
March,  etc. 

Many  pieces  and  studies  for  piano.  [  R.7  ] 

ROLLER,  CHARLES  WILLIAM  (b.  1877). 
See  Colleges,  3  (Bridgewater  C,  Va.). 

RONCONI,  GIORGIO  (1810-1890).  See 
Register,  5. 

RONTGEN,  ENGELBERT  (b.  1886).  See 
Register,  10. 

ROOSEVELT,  HILBOURNE  LEWIS 
(1848,  New  York  :  Dec.  29,  1885),  very 
early  developed  an  interest  in  acoustics, 
especially  as  related  to  organ-making.  As 
a  youth,  against  the  wishes  of  his  family,  he 
became  an  apprentice  in  the  shop  of  Hall, 
Labagh  &  Kemp,  and  made  more  than  one 
trip  to  Europe  to  study  organ-construction. 
In  1872  he  opened  his  own  factory  on  18th 
Street,  which  in  1881  was  moved  to  larger 
quarters  on  the  same  street.  As  early  as  1868 
he  took  out  his  first  patent  for  an  electric 
action,  and  about  1870  exhibited  an  organ 
equipped  with  it  at  an  American  Institute 
Fair  in  New  York.  In  1876  he  built  one  of  the 
great  organs  for  the  Centennial  Exposition 
in  Philadelpliia  (later  sold  to  Mechanics 
Institute  in  Boston),  and  about  1878  installed 
the  famous  instrument  at  the  Cathedral  in 
Garden  City,  Long  Island.  After  his  untimely 
death  the  business  was  continued  and  ex- 
tended by  his  brother,  Frank  H.  Roosevelt. 
The  firm  had  many  specialties  besides  electric 
actions.  They  perfected  a  notable  early 
form  of  tubular  pneumatic  action,  paid  great 
attention  to  orchestral  voicing,  strove  to 
unite  strildng  tonal  features  from  different 
schools  of  organ-malung,  and  were  always 
eminent  for  painstaldng  and  elaborate  interior 
construction.  In  1893,  however,  the  business 
was  given  up  and  the  stock  and  patents  sold 
to  the  Farrand  &  Votey  Co.  of  Detroit.  Soon 
after  the  younger  Roosevelt  died,  aged  only 
thirty-two.     [  R.G  ] 

ROOT,  FREDERICK  WOODMAN  (June 
13,  1846,  Boston  :  Nov.  8,  1916,  Chicago), 
was  son  and  pupil  of  George  F.  Root.  He 
studied  piano  with  Blodgett,  Mason  and 
Goldbeck,  organ  with  James  Flint  and  voice 
with  Bassini.  He  became  organist  of  the 
Third  Presbyterian  Church  in  Chicago  in 
1863,  and  of  the  Swedenborgian  Church  there 
in  1865.  In  1869-70  he  studied  with  Vannuc- 
cini  in  Florence,  and  on  his  return  to  Chicago 
became  distinguished  as  a  voice-teacher. 
Among  his  pupils  were  Hope  Glenn,  Jessie 
Bartlett  Davis,  W.  H.  Clark,  Charles  W. 
Clark,  Mackenzie  Gordon,  D.  A.  Clippinger 
and  F.  W.  Wodell.  He  conducted  the  Men- 
delssohn Choral  Club  in  1879-85 ;  wrote  for 
or  edited  the  '  Song  Messenger '  for  many  years, 


and  wrote  much  on  topics  connected  with 
singing.  He  published  The  Technic  and  Art 
of  Singing,  Methodical  Sight-Singing,  Intro- 
ductory Lessons  in  Voice-Culture,  The  Poly- 
chrome Lessons  in  Voice-Culture,  and  several 
collections  of  exercises  and  studies.  He 
composed  the  cantata  'The  Landing  of  the 
Pilgrims'  (1875,  Chicago),  a  burlesque  oper- 
etta, songs,  choruses  and  church-music.  He 
was  an  examiner  (1889)  of  the  American  Col- 
lege of  Musicians,  once  president  of  the  Chicago 
Literary  Club,  and  a  favorite  lecturer.    [  R.5  ] 

ROOT,  GEORGE  FREDERICK  (Aug.  30, 
1820,  Sheffield,  Mass.  :  Aug.  6,  1895, 
Bailey's  Island,  Me.).  See  article  in  Vol. 
iv.  138.  In  1839  he  became  associated  a3 
teacher  with  A.  N.  Johnson  in  Boston,  and 
was  his  assistant-organist  at  the  Winter 
Street  and  Park  Street  Churches.  He  also 
began  at  this  time  to  conduct  choral  classes. 
Two  years  later  he  joined  Mason  in  teaching 
in  the  public  schools.  In  1844  he  removed 
to  New  York,  becoming  teacher  of  voice  at 
Abbott's  School  for  Young  Ladies,  Rutgers 
Female  Institute  and  Union  Theological 
Seminary,  and  organist  at  the  Mercer  Street 
Presbyterian  Church.  He  went  to  Paris  in 
1850,  and  studied  voice  for  a  year  with  Giulio 
Alary  and  Jacques  Potharst.  On  his  return 
he  composed  the  cantata  '  The  Flower-Queen,' 
to  a  text  by  Fanny  Crosby,  and  wrote  some 
songs,  under  the  name  'G.  Friedrich  Wurzel,' 
for  the  Clu-isty  Minstrels.  Of  these  songs 
'Hazel  Dell'  and  'Rosalie,  the  Prairie  Flower' 
were  most  popular.  The  success  of  these  led 
him  to  devote  more  time  to  composition, 
though  he  continued  to  hold  'conventions' 
in  various  cities.  About  1858  he  became 
a  partner  in  the  firm  of  Root  &  Cady  (his 
brother,  E.  T.  Root  and  C.  M.  Cady),  music- 
dealers  in  Chicago,  and  in  1S59  moved  thither. 
When  the  Civil  War  opened  he  began  com- 
posing songs  which  became  extremely  popular. 
The '  Battle-Cry  of  Freedom '  (words  and  music) 
dates  from  1861,  and  was  followed  by  'Just 
before  the  battle,  mother,'  'Tramp,  tramp, 
tramp,  the  boys  are  marching,'  'The  Vacant 
Chair,'  and  many  others.  A  full  list  is  given 
in  his  autobiography.  The  Story  of  a  Musical 
Life,  1891.  The  losses  incident  to  the  Claicago 
fire  of  1871  led  to  the  dissolution  of  the  firm 
of  Root  &  Cady,  but  Chicago  remained  his 
headquarters  till  the  end  of  his  life.  The 
University  of  Chicago  made  him  Mus.D.  in 
1881.  His  popular  cantatas  included  'Daniel' 
(1853),  'The  Pilgrim  Fathers'  (1854),  'Bel- 
shazzar's  Feast'  (1860),  and  'The  Haymakers' 
(1857).  He  also  wrote  or  edited  some  70 
collections,  mainly  for  church,  school  or  con- 
vention.    See  Tune-Books,  1849.     [  R.4  ] 

ROSEN,  MAX  (b.  1900).  See  Register, 
10. 


344 


ROSENBECKER 


RUSSELL 


ROSENBECKER,  ADOLPH  (1851-1919). 
See  Register,  6. 

ROSENFELD,  MAURICE  BERNARD 
(Dec.  31,  1867,  Vienna,  Austria),  coming  to 
America  when  a  child,  had  his  general  edu- 
cation at  the  College  of  the  City  of  New  York 
and  at  Columbia  University,  studying  piano 
with  HyUested  and  Spanuth.  In  1888  he 
graduated  from  the  Chicago  Musical  College, 
and  began  teaching  there  at  once,  becoming 
one  of  its  directors  in  1912.  In  1911-12  he 
directed  the  Sherwood  Music  School,  in  1916 
established  his  own  school,  and  since  1917 
has  taught  piano  at  the  Hinshaw  Conservatory. 
He  has  often  appeared  as  pianist  in  the  West, 
both  in  recital  and  with  orchestra.  In  1907- 
1915  he  was  critic  for  the  'Examiner'  and 
since  1917  for  the  'News,'  besides  acting  in 
1913-16  as  correspondent  for  'Musical 
America.'  He  has  given  many  lectures  on 
music-history  and  aesthetics  before  clubs 
and  is  now  lecturer  at  the  Musical  Association 
Music  School.  He  has  written  somewhat 
for  orchestra  and  chamber-ensemble.     [  R.7  ] 

ROSEWALD,  JULIE,  n§e  Eichberg  (b. 
1850).     See  Register,  5. 

ROTHIER,  L:fiON  (b.  1874).  See  Register, 
10. 

ROTHWELL,  WALTER  HENRY  (Sept. 
22,  1872,  London,  England),  was  brought  up 
in  Vienna,  entering  the  Imperial  Academy 
of  Music  at  nine  and  graduating  with  high 
honors  in  piano,  composition  and  history. 
His  teachers  there  were  Epstein,  Bruckner 
and  Robert  Fuchs,  and  at  Munich  ThuUle 
and  Schillings.  From  1888  he  concertized 
in  Austria,  Germany  and  Switzerland,  and 
in  1895  became  Mahler's  assistant  at  the 
Hamburg  Opera.  After  serving  as  opera- 
conductor  also  at  Mecklenburg,  Breslau  and 
Vienna,  in  1903  he  was  made  director  of  the 
Royal  Opera  at  Amsterdam.  In  1904-05, 
at  the  invitation  of  H.  W.  Savage,  he  came 
to  direct  the  first  English  performances  of 
'Parsifal'  in  America,  touring  from  coast  to 
coast.  In  1905-07  he  continued  with  Savage, 
conducting  'Madama  Butterfly'  (first  Ameri- 
can performance  in  Wasliington) .  In  1908-15 
he  led  the  St.  Paul  Symphony  Orchestra,  and 
in  1916  directed  the  Civic  Orchestra  in  New 
York  in  summer-concerts.  In  1917-18  he 
served  as  guest-conductor  at  Cincinnati  and 
Detroit,  and  in  1919  took  charge  of  the  Loa 
Angeles  Philharmonic  Orchestra,  besides  re- 
turning in  1920  to  lead  summer-concerts  in 
New  York.  He  has  written  a  piano-concerto, 
two  piano-sonatas,  incidental  music  to  Maeter- 
linck's 'Mort  de  Tintagiles,'  a  'Bacchanale,' 
to  a  poem  by  Untermeyer,  for  voice  and 
orchestra,  and  many  songs.  In  1908  he 
married  the  singer  Elizabeth  Wolff,  who  came 
to  America  to  sing  the  title-role  in  'Madama 


Butterfly,'  and  has  since  appeared  in  recital 
or  with  the  St.  Paul  Orchestra.     [  R.9  ] 

ROTOLI,  AUGUSTO  (1847-1904).  See 
Register,  7. 

ROWE,  NEILLE  ODELL  (b.  1886).  See 
Colleges,  3  (U.  of  Wooster,  Ohio). 

ROYER,  CLARENCE  DE  VAUX  (May 
10,  1874,  Lancaster,  Pa.  :  Oct.  28,  1919, 
Lancaster),  was  educated  at  the  Franklin 
and  Marshall  School  in  Lancaster  and  at  the 
New  York  College  of  Metaphysics,  studying 
also  at  the  Philadelphia  Musical  Academy. 
Here  his  teachers  were  Hill  and  Van  Gelder 
for  violin,  Mohr  for  piano  and  Zeckwer  for 
theory.  Abroad  he  studied  with  Halir  and 
Moser  in  Berlin,  Marsick  in  Paris  and  Ysaye 
in  Brussels.  He  made  his  debut  as  violinist 
at  the  Salle  des  Agricultures  in  Paris  in  May, 
1897.  He  toured  France,  Germany,  Switzer- 
land, Belgium,  Holland,  Canada  and  the 
United  States,  making  in  all  over  1500  appear- 
ances. He  also  gave  many  lecture-recitals  — 
305  for  the  New  York  Board  of  Education 
in  fifteen  years.  In  recent  years  he  was 
director  of  the  violin-department  in  the  New 
York  School  of  Music  and  Art.  He  con- 
tributed many  articles  to  magazines,  and 
composed  violin-studies  and  pieces,  and  songs. 
He  was  a  charter-member  of  the  Musicians' 
Club  of  New  York  and  of  the  Chicago  Guild 
of  Violinists.     [  R.8  ] 

ROYER,  CLIFFORD  F.  See  Colleges, 
3  (Alma  C,  Mich.). 

RUDERSDORFF,  HERMINE  (1822- 
1882).     See  Vol.  iv.  189,  and  Register,  6. 

RUDOLPHSEN,  JOHN  FREDERICK 
(1827-  ?  ).     See  Register,  4. 

RUEGGER,  CHARLOTTE  (b.  1876).  See 
Colleges,  2  (Meredith  C,  N.  C.). 

RUIFROK,  HENRI  WILLEM  JOHAN 
(b.  1862).  See  Register,  7,  and  Colleges,  3 
(Drake  U.,  Iowa,  Valparaiso  U.,  Ind.). 

RUSS,  D.     See  Tune-Books,  1791. 

RUSSELL,  ELLA  (Mar.  30,  1864,  Cleve- 
land), when  about  nine  became  a  pupil  at  the 
Cleveland  Conservatory  and  a  year  later  sang 
in  public.  On  the  advice  of  Max  Strakosch 
she  went  to  Paris  and  studied  singing  with 
Mme.  De  la  Grange  and  acting  with  Edouard 
Pluque.  Two  years  later  she  went  to  Italy 
to  be  under  Giovanni  in  Milan.  Her  d6but 
was  as  Leonora  in  'II  Trovatore'  at  Prato 
in  1882,  and  her  success  led  to  engagements 
at  Florence,  Turin  and  Milan.  In  1883  she 
made  a  tour  of  Spain  with  the  tenor  Tamberlik. 
She  then  visited  Vienna,  Budapest,  Berlin, 
Warsaw,  Petrograd  and  Moscow.  Her  first 
appearance  in  England  was  at  Covent  Garden 
in  May,  1885,  when  she  sang  Gilda  in  'Rigo- 
letto,'  and  during  four  seasons  there  sang  in  30 
operas.  Tours  in  the  United  Kingdom  and  Rus- 
sia were  followed  by  an  engagement  with  the 


RUSSELL 


RYDER 


345 


Carl  Rosa  Opera  Company.  She  has  appeared 
at  many  important  London  concerts,  and  has 
sung,  by  command,  at  state  and  other  concerts 
at  Buckingham  Palace.  In  private  life  she 
is  the  Countess  di  Rhigini.     [  R.7  ] 

RUSSELL,  FLORENCE.  See  Colleges,  3 
(Cedarville  C,  Ohio). 

RUSSELL,  GEORGE  ALEXANDER  (b. 
1880).     See  Colleges,  1  (Princeton  U.,  N.  J.). 

RUSSELL,  HENRY  (1812-1900) .  See  Vol. 
iv.  194-5,  and  Register,  3. 

RUSSELL,  LILLIAN  (b.  1861).     See  Reg- 

RUSSELL,  LOUIS  ARTHUR  (b.  1854). 
See  Register,  6. 

RUSSIAN  SYMPHONY  ORCHESTRA, 
THE,  of  New  York,  was  organized  in  1904 
to  further  the  interests  of  Russian  music. 
Modest  Altschuler  has  been  conductor  from 
the  beginning.  Among  the  works  introduced 
have  l^en  Rachmaninov's  2nd  Symphony  in 
1909,  Kajanus'  'Finnish  Rhapsody'  in  1911, 
Rimsky-Korsakov's  Concerto  in  C-sharp  minor 
and  Ippolitov-Ivanov's  1st  Symphony  in  1914, 
Scriabin's  'Prometheus'  in  1915,  Liadov's  'The 
Enchanted  Lake'  in  1916  (the  last  two  with 
the  use  of  the  '  color-keyboard '  with  the  music) , 
ard  Stravinsky's  Symphony  in  E-flat  in  1916; 
Several  artists  have  made  their  American  debut 
with  the  Orchestra,  such  as  Rachmaninov, 
Scriabin,  Lhfevinne  and  Elman.  In  1918  Henri 
Verbrugghen,  director  of  the  Sydney  Conserva- 
tory in  Australia,  appeared  as  guest-conductor 
in  a  program  of  Beethoven  works.  The 
Orchestra  has  often  assisted  in  festivals  in 
many  places  in  the  United  States  and  Canada. 
In  1914  it  gave  a  'Wage-Earners'  Carnival' 
of  six  days,  presenting  music  of  many  countries. 

RYAN,  THOMAS  (1827-1903).  See  Reg- 
ister, 4. 

RYBNER,  PETER  MARTIN  CORNE- 
LIUS   (Oct.    26,    1855,    Copenhagen,    Den- 


mark), studied  violin  and  piano  at  the 
Copenhagen  Conservatory  under  Gade  and 
Hartmann,  and  at  the  Leipzig  Conservatory 
(from  1873)  under  Reinecke  and  David,  later 
going  further  with  Von  Biilow  and  Rubinstein. 
He  made  concert-tours  as  pianist  through 
Germany,  France,  Italy,  Norway  and  Sweden, 
and  was  for  a  time  court-pianist  to  the  Grand 
Duke  of  Baden.  Located  for  some  years  in 
Karlsruhe,  he  directed  the  Conservatory  there, 
was  associate-conductor  with  Mottl  at  the 
Opera,  and  conducted  the  Philharmonic 
Society  in  1892-1900.  In  1904  he  was  called 
to  Columbia  University  in  New  York  to 
succeed  MacDowell.  This  position  he  re- 
signed in  1919  to  devote  himself  to  com- 
position and  private  teaching.  He  has 
composed  a  Festival  Cantata  for  soli,  chorus 
and  orchestra,  op.  32 ;  the  symphonic  poem 
'Peace,  War,  and  Victory,'  op.  20;  a  Festival 
Overture,  op.  27 ;  a  violin-concerto  in  G 
minor,  op.  30;  the  three-act  ballet  'Prince 
Ador,'  op  35  (1903,  Karlsruhe)  ;  a  piano-trio, 
op.  9 ;  pieces  for  piano,  violin  and  piano, 
'cello  and  piano,  songs  and  choruses.  He 
has  also  made  concert-transcriptions  of  Wagner 
excerpts  for  piano,  and  written  Phases  of 
Pianoforte-Study.     [  R.9  ] 

His  daughter,  Dagmar  de  Corval  Rybner 
(Sept.  9,  1890,  Baden),  had  her  general  edu- 
cation in  Karlsruhe  and  Geneva,  studying 
music  at  Karlsruhe,  Neuch§,tel  and  New  York. 
She  first  appeared  as  pianist  at  the  Metro- 
politan Opera  House  in  New  York  in  1912, 
and  has  often  been  soloist  with  orchestras 
and  in  recital.  She  is  now  largely  engaged 
upon  composition.  Several  songs  and  a  num- 
ber of  works  for  violin  and  piano  have  been 
published  (Schirmer,  Ditson,  Breitkopf). 
[  R.IO  ] 

RYDER,  THOMAS  PHILANDER  (1836- 
1887).     See  Register,  4. 


s 


SAAR,  LOUIS  VICTOR  FRANZ  (Dec.  10, 
1868,  Rotterdam,  Holland),  came  of  a  musical 
family,  being  connected  with  Moscheles  and 
distantly  with  Schubert.  His  father  was  an 
opera-conductor  at  Covent  Garden  and  the 
Metropolitan  Opera  House,  and  his  mother 
was  for  a  time  a  dramatic  soprano.  He  him- 
self graduated  from  the  Strassburg  Gymna- 
sium in  1884  and  pursued  literature  and  history 
at  the  University  there.  In  1886-89  he  was 
at  the  Munich  Conservatory,  studying  with 
Rheinberger,  Bussmeyer  and  Abel,  and 
graduated  with  highest  honors,  taking  also 
the  Mendelssohn  prize  for  composition  in  1891 
and  the  Wiener  Tonkiinstler  prize  in  1892. 
In  1894  he  came  to  New  York  as  accompanist 
at  the  Metropolitan  Opera  House.  Later 
he  taught  theory  at  the  National  Conservatory, 
the  College  of  Music  and  the  Institute  of  Mu- 
sical Art.  In  1906-17  he  was  head  of  the 
theory  and  composition  work  at  the  College 
of  Music  in  Cincinnati,  and  has  since  been  in 
a  similar  position  at  the  Chicago  Musical 
College.  His  works  have  won  many  prizes  — 
in  Boston  in  1899  for  piano-music,  in  Balti- 
more in  1902  for  a  choral  composition  (Kaiser 
Prize,  with  400  competitors),  in  1911  and  '12 
from  the  Chicago  Madrigal  Club,  and  in  1912 
(two)  from  the  Art  Publication  Society  for 
piano-pieces.  His  compositions  number  about 
100,  in  many  forms,  the  songs,  violin-pieces 
and  choral  works  being  the  best-known. 
They  may  be  summarized  as  follows : 

Chamber-music :  String-Quartet  in  G,  Piano-Quar- 
tet, op.  39  (Siegel),  Quartet  for  clarinet,  horn,  'cello  and 
piano,  Sonatas  for  violin  and  piano,  op.  44  (Siegel), 
for  'cello  and  piano,  and  for  horn  and  piano. 

For  violin:  Canzonetta,  op.  17  (Schuberth),  2 
Pieces,  op.  26  (Schuberth),  'Romance  M61odique,'  op. 
78  (Carl  Fischer),  'En  Berceau,'  op.  86o,  for  violin 
and  orchestra  or  two  violins  and  piano  (Church). 

For  piano:  Suite,  op.  6  (Ries  &  Erler),  Suite,  4 
hands,  op.  27  (Schirmer,  also  as  'Rococo'  Suite,  for 
orchestra),  many  sets  of  pieces,  some  for  4  hands 
(Schmidt,  Schirmer,  Schulaerth,  Ditson,  Leuckart, 
Church,  Carl  Fischer,  Willis),  'The  Proficient  Pian- 
ist,' 2  Books  (Willis). 

For  organ  :  3  Recital-Pieces,  op.  85  (Church). 

For  solo  voice  or  duet :  Many  sets  of  songs,  a  few 
with  violin  or  orchestra  (Lewy,  Breitkopf,  Ries,  Schu- 
berth, Schirmer,  Leuckart,  Rieter-Biederman,  Boston 
Music  Co.,  Church,  Ditson,  Carl  Fischer,  Simrock). 

For  mixed  chorus:  3  Quartets,  op.  8  (Robitschek), 
'Ritornelle,'  op.  41,  for  G  parts  and  orchestra  (Rieter- 
Biederman),  2  for  6  parts  a  cappella,  op.  57  (Schir- 
mer), 'A  Song  of  Consolation,'  op.  71,  with  orchestra 
(Boston  Music  Co.),  2  4-part  Hymns  a  cappella,  op. 
76  (Carl  Fischer),  Morning,  Evening  and  Communion 
Services,  'The  Lord's  Prayer'  in  anthem-form  (all 
Church). 

For  men's  chorus:  'Battle  Prayer,'  op.  35,  with 
orchestra  (Hug),  'Forefathers'  Tomb,'  op.  36,  with 
orchestra  (Hug),  'Festival  Hymn,'  op.  48  (Forberg), 
'Algerian  Lullaby,'  op.  63,  with  piano  and  bells  (Bos- 


ton Music  Co.),  'Venetian  Love-Song,'  op.  68,  with 
violin  (Boston  Music  Co.),  several  sets,  opp.  30,  42, 
43  (Hug),  38  (Luckhardt  &  Belder),  46  (Forberg),  51 
(Kahnt),  56  (Siegel). 

For  women's  chorus :  '  Nocturne,'  op.  45,  with 
tenor  and  violin  (Siegel),  'Hallowing  Night,'  op.  55, 
with  alto  and  orchestra  (Schirmer),  3  Trios,  op.  62 
(Boston  Music  Co.),  2  Madrigals  a  cappella,  op.  78 
(Schirmer),  2  Madrigals  with  piano,  op.  80  (Ditson). 

Eight  seta  of  Folk-Songs  (English,  Irish,  Scotch, 
Negro,  Swedish  or  Italian)  for  men's,  women's  or 
mixed  chorus  (Boston  Music  Co.,  Church). 

He  has  also  published  a  large  number  of 
orchestral  and  piano-arrangements.     [  R.8  ] 

SABIN,  WALLACE  ARTHUR  (Dec.  15, 
1869,  Culworth,  England),  began  at  thirteen 
to  act  as  organist  at  various  schools  and 
churches  in  Oxford.  His  general  education 
was  at  Charstock  College  and  Magdalen 
College  School,  and  his  musical  training  under 
M.  J.  Monk  at  Banbury  and  T.  W.  Dodds  at 
Oxford.  In  1890  he  became  fellow  of  the 
R.  C.  O.  Migrating  to  San  Francisco  in 
1894-1906  he  was  organist  at  St.  Luke's,  and 
since  1906  has  been  at  the  First  Church, 
Scientist.  Since  1895  he  has  also  been  organist 
at  Temple  Emanu-El.  He  is  a  fellow  of  the 
A.  G.  O.,  and  was  recitalist  at  both  the  St. 
Louis  and  the  San  Francisco  Expositions  in 
1904  and  1915.  He  has  written  two  of  the 
'Grove-Plays'  for  the  Bohemian  Club — 'St. 
Patrick  at  Tara'  in  1909  and  'The  Twilight 
of  the  Kings'  in  1918  —  both  for  tenor,  bari- 
tone, men's  chorus  and  orchestra,  besides 
much  incidental  music  for  the  Club.  He  has 
made  various  settings  for  parts  of  the  Jewish 
liturgy,  published  in  Stark's  Service-Book. 
He  has  published  several  part-songs  for  men's 
voices  (Schirmer,  Gray,  Church),  and  has  oth- 
ers in  manuscript,  together  with  much  other 
music.  He  is  director  of  the  Loring  Club,  the 
Twentieth  Century  Musical  Club  and  the  Sat- 
urday Morning  (Ladies')  Orchestra.     [  R.8  ] 

'SACRIFICE,  THE.'  An  opera  by  Fred- 
erick S.  Converse,  produced  by  the  Boston 
Opera  Company  on  Mar.  3,  1911. 

SAENGER,  GUSTAV  (May  31,  1865, 
New  York),  studied  violin  with  C.  Richter, 
Leopold  Meyer  and  Leopold  Damrosch  and 
composition  with  C.  C.  MuUer.  For  many 
years  he  was  an  active  violinist  and  teacher, 
playing  at  the  Metropolitan  Opera  House  and 
with  the  Philharmonic  and  Symphony  So- 
cieties. In  1893  he  became  assistant-con- 
ductor to  Furst  at  the  Empire  Theater  and 
later  succeeded  him.  Thus  he  had  charge 
of  the  music  for  all  the  productions  of  the 
Frohman  companies,  besides  writing  much 
original  music  for  them.  In  1897  Carl  Fischer 
secured  him  as  arranger,  reviser  and  trans- 
lator.     This   work   increased   so   much   that 


346 


SABNGER 


ST.  PAUL  ORCHESTRA       347 


in  1909  he  withdrew  from  his  theatrical 
position  to  become  editor  of  the  Fischer 
publications.  He  thus  took  up  the  care  of 
'The  Metronome,'  devoted  to  band  and 
orchestra  music,  and  in  1904  that  of  'The 
Musical  Observer,'  a  more  general  periodical. 
He  has  been  specially  successful  in  arranging 
music  for  the  violin,  and  has  also  written 
a  Concertino  in  G  minor,  op.  83,  five  'Silhou- 
ettes,' op.  106,  two  Concert-Solos,  op.  129, 
three  '  Miniatures, 'j  op.  130,  a  New  School  of 
Melody,  op.  96,  besides  other  instrumental 
pieces  and  songs.     [  R.7  ] 

SAENGER,  OSCAR  (Jan.  5,  1868,  Brook- 
lyn), sang  in  concert  as  a  child  and  early 
studied  the  violin.  In  1886  he  secured  a 
scholarship  at  the  National  Conservatory, 
where  he  took  singing  with  Bouhy  and  dra- 
matic art  with  Frederick  Robinson,  later 
being  also  under  Klein.  In  1889-97  he  taught 
in  the  Conservatory.  In  1891  he  appeared 
as  baritone  with  the  Hinrichs  American  Opera 
Company,  and  in  1892  went  with  the  Arion 
Society  on  its  European  tour.  He  has  trained 
a  long  list  of  distinguished  singers,  like  Leon 
Rains,  Ellison  Van  Hoose,  Sara  Anderson, 
Allan  Hinckley,  Henri  Scott,  Marie  Rappold, 
Paul  Althouse,  Lila  Robeson,  Mabel  Garrison 
and  Florence  Hinkle.  Rudolf  Berger,  pre- 
viously baritone  at  the  Berlin  Opera,  he 
pronounced  a  tenor,  and  in  1909  he  made  a 
success  as  Lohengrin.     [R.7  ] 

SAERCHINGER,  ClilSAR  (Oct.  23,  1884, 
Aix-la-Chapelle,  Germany),  was  educated  in 
Halle,  New  York  and  Paris,  giving  special 
attention  to  linguistic  studies.  His  mother 
taught  him  singing,  and  he  took  piano  and 
theory  with  Lambord.  With  the  latter  in 
1912  he  founded  the  Modern  Music  Society 
in  New  York  to  give  recent  music,  especially 
by  American  composers,  and  has  been  its 
secretary  since  1912.  He  has  become  con- 
spicuous for  fine  editorial  work.  He  has 
contributed  to  the  National  Cyclopedia  of 
American  Biography  and  to  Appleton's  Cyclo- 
pedia of  American  Biography,  1906-12,  was 
managing-editor  of  The  Art  of  Music,  14 
vols.,  1914-17,  musical  editor  of  'The  Inter- 
national' in  1913-14  and  of  'Current  Opinion' 
since  1914,  and  brought  out  the  very  useful 
International  Who's  Who  in  Music,  1918.  He 
has  also  contributed  to  Elson's  '  Modern  Music 
and  Musicians,'  1918  (new  ed.)  and  to  journals 
like  'Musical  America'  and  'The  Musical 
Quarterly.'     [  R.9  ] 

SAFONOV,  VASSILY  ILYITCH  (Feb.  6, 
1852,  Itsyoursky,  Caucasus  :  Mar.  13, 
1918,  Kislovodsk,  Caucasus).  See  article 
in  Vol.  V.  662-3.  His  first  appearance  as 
conductor  of  the  New  York  Philharmonic 
Society  was  on  Mar.  5,  1904.  He  served  as 
conductor  of  this  Society  in  1905-09,  and  was 


also  director  of  the  National  Conservatory. 
On  his  return  to  Russia  he  became  conductor 
of  the  Imperial  Musical  Society  at  Petro- 
grad.  To  the  list  of  his  piano  pupils  should  be 
added  Rachmaninov,  Medtner  and  Grech- 
aninov.  He  published  A  New  Forynula  for  the 
Piano-Teacher  and  the  Piano-Student,  1916. 
[  R.9  ] 

ST.  CECILIA  SOCIETY,  THE.  Several 
societies  of  this  name  came  into  existence  in 
the  18th  century,  the  most  important  of  them 
being  that  of  Charleston,  S.  C,  founded  in 
1762  (at  first  called  'St.  Coecilia'!),  and  long 
continuing  as  a  center  of  interesting  concert- 
activity  (see  Sonneck,  Concert-Life,  pp.  16-9, 
22-4,  27-8,  40,  with  a  rescript  of  the  Society's 
rules).  Another  was  at  New  York  in  1791-99, 
then  merged  into  the  Philharmonic  Society. 
There  was  a  third  at  Newport,  R.  I.,  in  1793. 
Probably  there  were  others. 

ST.  CECILIA  SOCIETY  OF  AMERICA, 
THE,  was  organized  in  1873  by  John  Singen- 
berger  as  a  branch  of  the  Cacilienverein  of 
Franz  Witt  (1867)  for  the  promotion  of  the 
Palestrina  style  in  the  Roman  Catholic 
Church.  The  Society  began  holding  annual 
meetings  in  1874  and  the  issue  of  the  periodical 
'Cecilia.'  See  Mathews,  Hundred  Years  of 
Music  in  America,  pp.  277-82. 

ST.  LOUIS  PAGEANT  CHORAL  SO- 
CIETY, THE,  was  originally  formed  in 
1914  under  civic  auspices  to  supply  the  choral 
parts  of  Converse's  'Masque  of  St.  Louis,' 
given  at  the  150th  anniversary  of  the  founding 
of  the  city.  Its  success  led  to  its  continuance 
as  a  permanent  choral  society,  the  conductor 
being  Frederick  Fischer.  Three  or  four  con- 
certs are  given  annually,  besides  more  or 
less  extension-work  in  furtherance  of  com- 
munity-singing. Besides  oratorios  and  similar 
works,  the  Society  has  presented  several 
American  cantatas,  such  as  Converse's  'The 
Peace-Pipe'  (1917),  Farwell's  'The  Ever- 
green-Tree' (1918),  Paine's  'A  Hymn  of  the 
West,'  Skilton's  'The  Witch's  Daughter'  and 
Busch's  'The  American  Flag'   (all  1919). 

ST.  LOUIS  SYMPHONY  ORCHESTRA, 
THE,  was  founded  in  1907,  and  has  been  led 
since  then  by  Max  Zach.  Its  present  size  is 
80  players. 

'ST.  PATRICK  AT  TARA.'  No,  7  of  the 
'Grove-Plays'  of  the  San  Francisco  Bohemian 
Club,  produced  in  1909.  The  text  is  by  H. 
Morse  Stephens  and  the  music  by  Wallace 
A.  Sabin.  The  scene  is  laid  'on  the  Hill  of 
Tara  in  Meath,  Ireland,  on  Easter,  432.' 

ST.  PAUL  SYMPHONY  ORCHESTRA, 
THE,  was  formed  in  1908  under  the  leader- 
ship of  Walter  H.  Rothwell,  who  remained  at 
its  head  till  1915,  when  conditions  due  to  the 
war  led  to  its  discontinuance.  Its  place  was 
taken  by  the  St.  Paul  Philharmonic  Orchestra, 


348 


♦ST.  PETER' 


SALTER 


led  by  Josef  Sainton,  which  gives  12  popular 
concerts  annually. 

'ST.  PETER.'  An  oratorio  by  John  K. 
Paine,  first  given  at  Portland,  Me.,  in  June, 
1873,  and  by  the  Handel  and  Haydn  Society 
in  Boston  on  May  9,  1874. 

I  SAINT-SAENS,  CHARLES  CAMILLE 
(Oct.  9,  1835,  Paris,  France).  See  article  in 
Vol.  iv.  207-9.  In  1900  he  was  made  Grand- 
Officer  in  the  Legion  d'Honneur  and  in  1913 
received  the  Grand-Croix.  He  first  visited 
the  United  States  in  October-December,  1906, 
and  in  1915  returned  as  French  representative 
at  the  Panama-Pacific  Exposition.  He  there 
conducted  some  of  his  own  works,  including 
'Hail,  California.'  In  1916  he  visited  South 
America.  His  list  of  works  now  includes  the 
following : 

op.  106     'Caprice  H^roique,'  for  two  pianos. 

107  '  Marche  R^ligieuse,'  for  organ. 

108  'Barcarolle,'  for  violin,  'cello,  piano  and 

organ. 

109  'Trois  Preludes  et  Fugues,'  for  organ. 

110  '  Valse  Nonchalante,'  for  piano. 
1'  1     Six  Etudes  for  piano. 

112  String-Quartet  in  E  minor. 

113  'Chants   d'Automne,'   for   men's   chorus 

a  cappella. 

114  'La  Nuit,'  for  soprano,  women's  chorus 

and  orchestra. 

115  Cantata,  'Le  Feu  C6Ieste,'  for  soprano, 

recitation,  chorus,  orchestra  and  organ. 

116  Dramatic   Scene,   'Lola,'  for  two  'cellos 

and  orchestra. 

117  'Marche  de  Couronnement,'  for  orchestra. 

118  'Romance  du  Soir,'  for  chorus  a  cappella. 

119  Concerto  No.  2,  in  D  minor,  for  'cello. 

120  'Valse  Langoureuse,'  for  piano. 

121  '  A  la  France,'  for  men's  chorus  a  cappella. 

122  'Caprice  Andalouse,'   for  violin   and  or- 

chestra. 

123  Sonata  No.  2,  in  F,  for  'cello. 

124  Fantaisie  for  violin  and  harp. 

125  March,  'Sur  les  Bords  du  Nil,'  for  military- 

band. 

126  Cantata,    'La   Gloire   de   Corneille,'    for 

soli,  chorus  and  orchestra. 

127  Psalm  1.50,  for  double  chorus,  organ  and 

orchestra. 

128  Incidental    Music    to    '  L'Assassinat    du 

Due  de  Guise.' 

129  "Le  Matin,'  for  men's  chorus  a  cappella. 

130  'Trois    Tableaux    Symphoniques '     from 

music  to  'La  Foi.' 

131  'La  Gloire,'  for  men's  chorus  a  cappella. 

132  'La  Muse  et  le  Poete,'  for  violin,  'cello 

and  orchestra. 

133  'Ouverture  de  F6te.' 

135  Six  Etudes  for  piano  (left  hand). 

136  Suite,  'Triptique,'  for  violin  and  piano. 
139     'Valse  Gaie,'  for  piano. 

147  Motet,  'Tu  es  Petrus,'  a  cappella. 

148  Motet,  'Quam  Dilecta,'  a  cappella. 
150     Seven  Improvisations  for  organ. 

Without  opus-number : 

'  Romance  sans  Paroles,'  for  piano. 
'Le  Cygne,'  for  'cello  and  piano. 
'Hynine  Franco-Espagnole,'  for  band. 
'Lever  de  Soleil  sur  le  Nil,'  for  alto  and  orches- 
tra. 
'S€r6nade  d'Hiver,'  for  men's  chorus  a  cappella. 


Madrigal  for  tenor  and  men's  chorus. 

'Ode  d'Horace,'  for  men's  chorus  a  cappella. 

A  'Deux,'  two-part  canon  for  children. 

'Panis  Angelicus,'  for  tenor,  string-quintet  and 
organ. 

'Hail,   California'   (1915,   Panama-Pacific  Ex- 
position). 

'Honneur  k  rAmSrique,'  for  orchestra  (1916). 
Unpublished : 

'Le  Carnaval  des  Animaux,'  for  orchestra. 

Overture,  'Spartacus.' 

Symphonies  in  F  and  D. 

Cantata,  'Ode  ^  Ste.-C6cile,'  for  chorus   and 
orchestra. 

Cantata   for   the    centenary    of    the    birth    of 
Hoche  (1868),  for  chorus  and  orchestra. 

He  has  also  published  about  75  songs,  many 
motets  and  numerous  arrangements  from 
composers  old  and  new,  and  edited  Charpen- 
tier's  'Le  Malade  Imaginaire'  (1894),  Gluck's 
'Armide,'  'Orphee,'  and  'ilcho  et  Narcisse' 
for  the  Pelletan  Edition  (1875-1902),  Rameau's 
works  (1895-  )  and  Mozart's  piano-sonatas. 
He  is  author  of  Notice  sur  H.  Rcber,  1881, 
Materialisme  et  Musique,  1882,  Notes  sur  les 
Decors  de  Thedtre  dans  VAntiquite  Romaine, 
1886,  Gounod  et  le  'Don  Juan'  de  Mozart,  1893, 
Prohlbnes  et  Mystbres,  1894,  Ecole  Buisson- 
nihre,  1913,  Au  courant  de  la  Vie,  1914,  and 
Germanophile,  1916,  besides  a  volume  of  poems 
and  three  comedies.  For  further  bibliography, 
see  Baker,  Diet,  of  Musiciayis,  p.  804. 

SAINTON,  JOSEPH  (b.  1878).  See  Reg- 
ister, 10. 

SALEM  ORATORIO  SOCIETY,  THE, 
of  Salem,  Mass.,  was  founded  in  1868.  Its 
conductors  have  been  Carl  Zerrahn  in  1868-98, 
W.  S.  Fenollosa  in  1898-1900,  Emil  Mollen- 
hauer  in  1900-09,  Alfred  S.  Denghausen  in 
1909-13  and  Frederick  Gate  since  1913.  The 
membership  of  the  chorus  is  usually  about  100. 
Two  or  three  concerts  are  given  annually. 
The  Society  has  a  small  fund,  received  by 
legacy.  Besides  the  more  common  oratorios, 
it  has  given  Costa's  'Eli,'  Handel's  'Joshua,' 
'Judas  Maccabajus'  (5  times)  and  'Samson' 
(3  times),  and  many  modern  works,  like 
Bruch's  'The  Cross  of  Fire,'  Coleridge-Taylor's 
'Hiawatha's  Wedding-Feast,'  Novdcek's  'My 
Goddess,'  Franck's  Psalm  150,  Verdi's  Re- 
quiem, Dvorak's  Stabat  Mater,  Dubois' '  Seven 
Last  Words,'  etc.,  besides  a  number  of  operas 
in  concert-form. 

SALIMENT,  GEORGE  EDWARD.  See 
Register,  2. 

SALMON,  ALVAH  GLOVER  (1868-1917). 
See  Register,  8. 

SALTER,  MARY  ELIZABETH,  n6e  Tur- 
ner (Mar.  15,  1856,  Peoria,  111.),  had  her  early 
education  in  Burlington,  la.,  where  she 
studied  singing  under  Alfred  Arthur  and 
Max  Schilling,  continuing  later  in  Boston 
under  O'Neill  and  Mme.  Rudersdorff.  For 
twenty  years  from  about  1875  she  was  solo- 


SALTER 


SAMAROFF 


349 


soprano  in  chiirches  in  Boston,  New  York, 
New  Haven,  Syracuse,  Buffalo,  and  Atlanta. 
She  sang  in  concert  with  many  noted  artists 
and  choral  societies.  In  1879-81  she  taught 
at  Wellesley  College.  Her  song-writing  de- 
veloped unconsciously,  without  much  in- 
fluence from  technical  study.  'The  Cry  of 
Rachel'  has  become  noted  through  its  pre- 
sentation by  Mme.  Schumann-Heink.  In 
many  cases  she  has  written  words  as  well  as 
music.  Out  of  a  total  list  of  nearly  150  the 
following  sets  may  be  named  as  in  some  way 
representative : 

'Three  Spring-Songs,'  op.  4  (1904)  (Schirmer). 

'Five  Songs,'  op.  6  (1905)    (Schirmer). 

'Love's  Epitome,'  cycle  of  5  (1905)  (Schirmer). 

'A  Night  in  Naishapur,'  cycle  of  6  (1906)  (Schir- 
mer). 

'Songs  of  the  Four  Winds,'  op.  12  (1907)  (Schir- 
mer). 

'Outdoor  Sketches,'  set  of  6  (1908)  (Schirmer). 

'Lyrics  from  Sappho,'  op.  18,  set  of  7  (1909) 
(Schirmer). 

'From  Old  Japan,'  op.  23,  cycle  of  6  (1911) 
(Summy). 

'Eight  Songs,'  op.  24  (1912)   (Schirmer). 

'Four  Songs,'  op.  26  (1913)  (Schmidt). 

'Four  Songs,'  op.  33  (1916)  (Ditson). 

'Five  Songs,'  op.  34  (1916)  (Schirmer). 

She  has  also  written  a  number  of  sacred 
songs  and  some  hymn-anthems.  In  1881  she 
married  Sumner  Salter  (see  below).  [  R.6  ] 
SALTER,  SUMNER  (June  24,  1856, 
Burlington,  la.),  began  as  organist  in  1875, 
while  in  Amherst  College,  where  he  graduated 
in  1877.  He  studied^  organ  with  B.  D.  Allen 
and  Eugene  Thayer,  piano  with  J.  C.  D- 
Parker,  singing  with  Osgood  and  theory  with 
Paine.  During  his  student-days  in  Boston 
he  played  in  Lynn  and  Roxbury,  taught  in  the 
Petersilea  Academy,  sang  in  the  Boylston 
Club  and  led  the  Arion  Club  of  Chelsea.  In 
the  summers  of  1878  and  '79  he  taught  with 
Sherwood  at  Lyons  and  Canandaigua,  N.  Y. 
In  1879-81  he  was  organist  in  Cleveland 
and  taught  at  the  Oberlin  Conservatory.  In 
1881-86  he  was  organist  at  St.  Paul's  in  Syra- 
cuse and  conductor  of  the  Cecilia  Society. 
In  1886-89  he  was  at  the  First  Methodist 
Church  in  Atlanta  and  director  of  the  Musical 
Association  (chorus  and  orchestra) .  In  1889- 
1900  he  was  in  New  York,  first  at  the  First 
Presbyterian  and  then  at  the  West  End 
Avenue  Collegiate  Church.  In  1900-02  he  was 
organist  at  Cornell  University  and  teacher  of 
voice  in  the  Ithaca  Conservatory.  In  1902-05 
he  was  organist  of  Broadway  Tabernacle  in 
New  York,  and  since  1905  he  has  been  organist 
at  Williams  College.  While  in  New  York 
he  was  a  founder  of  the  Manuscript  Society  in 
1892,  and  of  the  A.  G.  O.  in  1896,  editor  of 
'The  Pianist  and  Organist,'  its  first  official 
organ,  in  1895-98,  and  warden  in  1899-1900. 
In  1897-98  he  was  president  of  the  New  York 


Music  Teachers'  Association.  He  has  given 
a  large  number  of  recitals,  including  two  at 
the  Buffalo  Exposition  in  1901,  three  at  St. 
Louis  in  1904,  five  at  San  Francisco  in  1915 
and  about  175  at  Williams  College.  He  has 
written  mostly  for  the  voice,  with  special 
attention  to  part-songs  and  anthems  for 
men's  voices.  The  list  of  works  includes  about 
25  songs  (Phillips  &  Crew,  Ditson,  Church, 
Schirmer,  etc.),  and  the  following  choral 
music : 

For  men's  voices:  'Holy  stars  above  me,'  'Twi- 
light Revery,'  'Answered,'  'Daffodils,'  'The  night- 
wind  sleeps,'  'Tarry  with  me,'  'I  will  lift  up  mine 
eyes'  (all  Ditson)  ;  'Let  my  voice  ring  out,'  'O 
mellow  moonlight'  (Rohlfing) ;  'The  Sword'  (Presser, 
prize-work) ;  Benedictus  in  D,  Jubilate  in  E-flat, 
Te  Deum  in  C,  'The  Lord  is  my  Light,'  'Saviour, 
Source  of  every  blessing '  (all  Schirmer) ;  Deus 
Misereatur  (Boosey). 

For  mixed  voices:  'Homeward,'  'The  day  is 
gently  sinking,'  'In  the  days  of  Herod  the  king,' 
'  Suffer  little  children,' '  Sun  of  my  soul '  (all  Schirmer) ; 
'Abide  with  me,'  'Alleluia'  (Easter),  'O  let  your 
mingling  voices  rise,'  'Rock  of  Ages,'  'Harvest- 
Home'  (all  Ditson). 

Also  many  responses  and  other  service-music,  and 
many  arrangements.  [  R.6  J 

SALTZMAN-STEVENS,  MINNIE  (1885?, 
Bloomington,  HI.),  after  studying  with 
Chicago  teachers  went  to  Paris  in  1905 
for  four  years  with  Jean  de  Reszk6.  Her 
first  appearance  in  opera  was  in  1909,  when 
she  sang  Briinnhilde  in  'Die  Walkiire'  at 
Covent  Garden  in  London,  under  Richter. 
Her  success  was  such  that  she  was  invited 
to  Bayreuth,  where  she  sang  Kundry  in 
1911.  She  sang  Briinnhilde  in  the  'Ring' 
cycle  at  the  Royal  Opera  in  Lisbon  in  1909, 
and  many  Wagnerian  roles  at  Covent  Garden 
(four  seasons),  Berlin,  Frankfort  and  Brussels. 
Engaged  by  the  Philadelphia-Chicago  Opera 
Company,  she  made  her  American  debut  at 
Chicago  in  December,  1911,  as  Briinnhilde, 
and  the  next  month  sang  Isolde  in  Philadelphia. 
Her  engagement  with  the  Chicago  Company 
continued  till  1914.  In  1905  she  married 
A.  Newman  Stevens  of  Bloomington.     [  R.9  ] 

SALZfiDO,  CARLOS  (b.  1885).  See  Regis- 
ter, 10. 

SAMAROFF,  OLGA,  nee  Hickenlooper 
(Aug.  8,  1882,  San  Antonio,  Tex.),  gained 
her  musical  education  at  the  Paris  Conserva- 
tory, being  the  first  American  woman  admitted 
to  piano-classes  there,  and  with  Jedliczka 
in  Berlin.  Her  first  appearance  as  pianist 
was  with  the  New  York  Symphony  Society 
under  Walter  Damrosch  in  1905.  Since  then 
she  has  made  extensive  tours  in  the  United 
States,  Canada  and  Europe,  both '  as  soloist 
with  leading  orchestras  and  in  recital.  She 
has  appeared  jointly  with  Kreisler  and  Zim- 
balist  and  played  often  in  ensemble,  as  with 
the   Kneisel   Quartet.     In   1911  she  married 


350 


SAMPAIX 


SANSONE 


Leopold  Stokowski,  the  conductor  of  the 
Philadelphia  Orchestra.  In  1912-14  she  was 
in  retirement,  owing  to  ill  health.     [  R.9  ] 

SAMPAIX,  LtON  (b.  1878).  See  Register, 
9. 

SANDBY,  HERMAN  (Mar.  21,  1881,  near 
Copenhagen,  Denmark),  began  'cello-study 
at  seven  with  local  teachers.  In  1895  he  went 
to  the  Frankfort  Conservatory,  spending  five 
years  under  Hugo  Becker.  In  1896  he  played 
before  the  Queen  at  Buckingham  Palace  in 
London.  His  formal  d^but  was  made  with 
the  Copenhagen  Orchestral  Society  in  Jan- 
uary, 1900.  He  toured  in  Scandinavia,  Ger- 
many and  Great  Britain  as  soloist,  playing 
in  London  with  Carreiio  and  Grainger.  In 
1914^16  he  was  first  'cellist  of  the  Philadelphia 
Orchestra,  his  only  orchestral  engagement. 
Since  1916  he  has  devoted  himself  to  solo- 
playing  and  composition.  He  has  written 
a  'cello-concerto  in  D  (1916,  Philadel- 
phia Orchestra) ;  two  string-quartets ;  in- 
cidental music  to  Mrs.  Sandby's  drama  'The 
Woman  and  the  Fiddler'  (1912,  Philadel- 
phia) ;  and  many  transcriptions  of  Norwegian 
melodies  for  piano,  violin  and  piano,  'cello 
and  piano,  and  other  combinations.  His 
grand  opera  'The  Vikings  of  Helgeland' 
(Ibsen)  is  as  yet  unfinished,  but  the  prelude 
to  Act  iv.  was  played  by  the  Philadelphia 
Orchestra  on  Dec.  6,  1912.     [  R.IO  ] 

SANDERSON,  LILLIAN  (b.  1867).  See 
Register,  8. 

SANDERSON,  SIBYL  (Dec.  7,  1865, 
Sacramento,  Cal.  :  May  16,  1903,  Paris), 
was  the  daughter  of  a  judge  in  the  California 
Supreme  Court.  At  nineteen  she  went  to 
Paris  for  Btudy  at  the  Conservatory  under 
Sbriglia  and  Mme.  Marchesi.  Her  operatic 
debut  was  in  1888  at  the  Hague.  Making  the 
acquaintance  of  Massenet,  he  became  im- 
pressed with  her  compass  of  tliree  octaves 
and  wrote   '  Esclarmonde '   with  her  voice  in 

mind. In  this  work  she  appeared  at  the  Opera- 

Comique  in  1889.  For  two  seasons  she  then 
sang  at  La  Monnaie  in  Brussels.  In  1894 
she  appeared  at  the  Paris  Grand-0p6ra  in 
'Thais,'  which  Massenet  wrote  for  her.  In 
1893,  also,  she  sang  in  Saint-Saens'  'Phryne,' 
which,  too,  was  written  for  her.  In  1897  she 
married  the  Cliilean  merchant  Antonio  Terry 
(d.  1900).  She  visited  Petrograd,  Moscow, 
London  and  New  York  (1895  and  '98,  Metro- 
politan Opera  House),  but  her  popularity 
was  greatest  in  Paris.  Massenet,  in  his 
Souvenirs,  called  her  an  'ideal'  Manon  and  an 
'unforgettable'  Thais.      [  R.7  ] 

SANFORD,  SAMUEL  SIMONS  (1849- 
1910).     See  Register,  6. 

SAN  FRANCISCO  SYMPHONY  OR- 
CHESTRA, THE,  is  technically  known  as  the 
Musical  Association  of  San  Francisco,  which 


was  formed  in  1909  and  supported  by  a  circle 
of  members  who  subscribe  from  $100  to  $5000 
annually.  The  first  conductor  was  Henry 
K.  Hadley,  who  in  1915  was  succeeded  by 
Alfred  Hertz,  formerly  of  the  Metropolitan 
Opera  House  in  New  York.  The  average 
number  of  players  is  over  80.  The  number 
of  concerts  per  year  is  now  about  50.  The 
repertoire  includes  almost  all  the  standard 
symphonies,  overtures  and  concertos,  with  a 
wide  range  of  modern  works  of  every  kind. 
Premieres  are  recorded  for  Frederic  Jacobi's 
symphonic  poem  'The  Pied  Piper'  (1916) 
and  'A  California  Suite'  (1917),  first  per- 
formances in  America  for  Beethoven's  newly- 
discovered  Symphony  (1912),  and  Dukas' 
danced-poem  'The  Peri'  (1916),  and  first  in 
San  Francisco  for  Moszkowski's  Suite  No.  1 
(1912),  Rachmaninov's  'Die  Toteninsel' 
(1913),  Reger's  'Romantique'  Suite  (1913), 
Pfitzner's  Overture,  'Das  Christ-Elf  lein' 
(1916),  Grainger's  British  Folk-Song  Settings 
and  'In  a  Nutshell'  Suite  (1916),  Debussy's 
tone-picture  'Iberia'  (1916),  Schubert's  Sym- 
phony No.  5  (1916),  Georg  Schumann's 
'Variations  and  Double  Fugue  on  a  Merry 
Theme'  (1917),  Kelley's  'New  England' 
Symphony  (1917),  and  Schmitt's  'Rhapsodie 
Viennoise'  (1918). 

SANGER,  ZEDEKIAH  (1748-1820)  See 
Tune-Books,  1808. 

SANGERBUND,  DER  AMERIKANI- 
SCHE.  German  singing-societies  early  became 
notable  in  the  Middle  West,  especially  at  Cin- 
cinnati, Chicago,  Milwaukee  and  St.  Louis. 
From  about  1850  the  custom  of  holding  an 
annual  Siingerfest  became  more  or  less  estab- 
lished. In  1868  the  scope  of  these  festivals  was 
enlarged  so  as  to  include  mixed  choral  singing 
with  orchestra.  Thus,  like  the  Liederkranz, 
the  Sangerbund  contributed  to  the  advance  of 
popular  interest  in  choral  and  orchestral  music 
on  a  large  scale. 

SANKEY,  IRA  DAVID  (1840-1908).  See 
Register,  6. 

SANSONE,  ERRICO  (Aug.  13,  1859, 
Naples,  Italy),  studied  violin  with  Pinto 
and  composition  with  Serrao,  making  his 
debut  as  violinist  at  Naples  in  1877.  He 
then  taught  at  the  Conservatory,  led  the 
Quartet  Society,  was  concertmaster  in  the 
Symphony  Orchestra  and  at  the  Teatro  S. 
Carlo,  and  toured  much  as  violinist  and 
conductor.  Coming  to  Chicago  about  1895, 
he  taught  at  the  Chicago  Conservatory  and 
the  Balatka  Academy,  played  much  in  en- 
semble with  Martucci,  Godowsky,  Ysaye  and 
others,  and  became  concertmaster  of  the  St.  Paul 
Symphony  Orchestra.  He  has  composed  the 
five-act  opera  'Abel,'  the  cantata  'The  Legend 
of  Wenonah,'  a  violin-concerto,  two  suites  for 
string-quartet,  violin-studies  and  songs.    [  R.8  ] 


SANTELMANN 


SCHARWENKA 


351 


SANTELMANN,  WILLIAM  HENRY 
(Sept.  24,  1863,  Offensen,  Germany),  took  up 
violin-playing  very  young  and  at  eighteen 
began  five  years'  study  at  Leipzig.  In  1887 
he  came  to  Philadelphia  with  a  visiting  or- 
chestra, and  soon  enlisted  in  the  United  States 
Marine  Band  as  violinist  and  baritone-player. 
In  1895  he  formed  an  orchestra  of  his  own  and 
in  1896-98  was  leader  at  the  Columbia  Theater, 
but  in  1898  returned  to  the  Marine  Band  as 
its  director.  This  position  he  still  holds, 
having  developed  the  Band  into  a  significant 
organization,  not  only  in  size,  but  in  artistic 
quality.  In  1908  the  George  Washington 
University  made  him  Mus.D.  His  band-works 
include  the  overture  and  suite  'Pocohontas,' 
the  concert-galop  'The  Ride  of  the  Hussars,' 
several  marches  for  band  and  orchestra,  and 
many  arrangements  and  transcriptions.     [  R.7  ] 

JSANTLEY,  CHARLES  (Feb.  28,  1834, 
Liverpool,  England).  See  article  in  Vol.  iv. 
222-3,  and  note  in  v.  664.  He  has  published 
The  Singing -Master,  1900,  The  Art  of  Singing, 
1908,  and  Reminiscences  of  My  Life,  1909. 

t  SAPELNIKOV,  VASSILY  (Nov.  2,  1868, 
Odessa,  Russia).  See  article  in  Vol.  v.  664. 
His  first  teacher  was  Franz  Kessler.  In 
1888  he  made  his  debut  as  pianist  at  Ham- 
burg, playing  Tchaikovsky's  B-flat  Concerto 
under  the  composer's  direction.  He  resigned 
at  Moscow  in  1899,  and  has  since  lived  not 
only  in  Germany,  but  in  Italy  and  England. 
He  is  an  honorary  member  of  the  London 
Philharmonic  Society.  He  has  written  some 
fine  short  pieces  for  the  piano. 

SAPIO,  ROMUALDO.(b.  1858).  See  Reg- 
ister, 7. 

SASLAVSKY,  ALEXANDER  (Feb.  9, 
1876,  Kharkov,  Russia),  studied  violin  with 
Gorsky  at  Kharkov  and  with  Gruen  in  Vienna. 
In  1893  he  toured  in  Canada  and  became  one 
of  the  first  violins  in  the  New  York  Symphony 
Society.  From  1903  he  was  concertmaster 
and  assistant-conductor  under  Walter  Dam- 
rosch.  In  1904  he  was  one  of  the  founders  of 
the  Russian  Symphony  Orchestra,  its  concert- 
master  till  1908  and  one  of  its  first  soloists. 
With  these  organizations  he  has  toured 
throughout  the  country.  In  1907  he  formed 
a  Quartet  with  Finkelstein,  W^eissmann  and 
Renard,  since  1915  giving  chamber-recitals 
at  Denver  in  the  summers.  In  1919  he  became 
concertmaster  of  the  new  Philharmonic  Orches- 
tra in  Los  Angeles,  and  is  otherwise  active  as 
soloist  and  teacher.     [  R.B  ] 

t  SAURET,  tUlLE  (May  22,  1852,  Dun- 
le-Roi,  France  :  Feb.  12,  1920,  London).  See 
article  in  Vol.  iv.  227-8.  From  1908  he  was 
professor  at  Trinity  College  in  London. 

SAVAGE,  HENRY  WILSON,  born  in 
Boston,  graduated  from  Harvard  in  1880 
and  went  into  real  estate  business  in  Boston. 


One  of  his  properties  was  the  Castle  Square 
Theater.  As  it  was  a  failure  in  other  hands, 
about  1895  he  took  hold  of  it  himself,  giving 
both  grand  and  light  opera  in  English  at 
popular  prices.  Presently  he  sent  out  the 
excellent  Castle  Square  Company  to  other 
cities.  In  1900  he  organized  the  English 
Grand  Opera  Company,  in  the  fall  giving  a 
series  of  performances  at  the  Metropolitan 
Opera  House  in  New  York  and  then  touring 
the  country.  Among  its  achievements  were 
'Parsifal'  in  1904-05  with  Rothwell  and 
Moritz  Grimm  as  conductors,  'Madama 
Butterfly'  in  1906-07  for  the  first  time  in 
America,  and  'The  Girl  of  the  Golden  West,' 
in  1911-12.  Meanwhile  other  troupes  under 
his  management  were  presenting  light  opera 
and  musical  comedy  in  many  places.  As 
president  and  director  of  Henry  W.  Savage, 
Inc.,  and  similar  organizations,  he  has  steadily 
continued  to  purvey  drama,  musical  comedy 
and  more  or  less  opera  to  a  large  and  diversified 
public.     [  R.8  ] 

'SCARLET  LETTER,  THE.'  An  opera, 
based  upon  Hawthorne's  romance,  by  Walter 
Damrosch,  produced  in  Boston  on  Feb.  10, 
1896,  and  at  the  Metropolitan  Opera  House 
in  New  York  on  Mar.  6.  The  libretto  was 
prepared  by  George  Parsons  Lathrop,  Haw- 
thorne's son-in-law.  In  1855  L.  H.  Southard 
completed  an  opera  of  the  same  name,  and 
parts  of  it  were  sung  in  Boston. 

SCHAFFER  [Scheffer],  FRANCIS  C.  See 
Register,  2,  and  TuNE-BooKa,  1796. 

SCHARFENBERG,  WILLIAM  (1819- 
1895).     See  Register,  3. 

^  SCHARWENKA,  FRANZ  XAVER  (Jan. 
6,  1850,  Samter,  Germany).  See  article  in 
Vol.  iv.  249.  He  made  concert-tours  in  Amer- 
ica in  1910-11  and  1913-14.  In  1914  he  with- 
drew from  the  Klindworth-Scharwenka  Conserv- 
atory, and  established  a  school  of  his  own 
in  Berlin.  To  the  list  of  his  compositions 
add  the  4th  piano-concerto,  in  F  minor,  op. 
82  (1908),  two  Ballades  for  piano,  op.  85, 
Variations  for  piano,  op.  83,  and  also  the 
Methodik  des  Klavier spiels,  1908.     [  R.6  ] 

SCHARWENKA,  LUDWIG  PHILIPP 
(Feb.  16,  1847,  Samter,  Germany  :  1918, 
Charlottenburg,  Germany).  See  article  in 
Vol.  iv.  248-9.  To  the  list  of  works  add  the 
Symphony  in  D  minor,  op.  96 ;  a  '  Symphonia 
Brevis,'  in  E-flat,  op.  115  ;  the  symphonic  poem 
'Traum  und  Wirklichkeit,'  op.  92;  a  violin- 
concerto  in  G,  op.  95 ;  a  piano-quintet  in  B 
minor,  op.  118  ;  two  string-quartets,  in  D  minor 
and  D,  opp.  117,  120;  three  piano-trios,  in 
C-sharp  minor,  G  and  E  minor,  opp.  100,  112, 
121 ;  a  trio  in  A,  op.  105,  for  violin,  viola  and 
piano ;  two  violin-sonatas  in  B  minor  and  E 
minor,  opp.  110,  114;  a  viola-sonata,  op.  106; 
and  a  'cello  sonata,  op.  116.    [  R.8  ] 


352 


SCHEEL 


SCHINDLER 


SCHEEL,  FRITZ  (Nov.  7,  1852,  Liibeck, 
Germany  :  Mar.  13,  1907,  Philadelphia), 
came  of  a  line  of  orchestral  conductors  and 
began  playing  under  his  father  at  ten,  in 
1864-67  also  studying  under  David  at  Leipzig. 
In  1869  he  became  concertmaster  and  con- 
ductor at  Bremerhaven,  in  1873  leader  of 
summer-concerts  in  Schwerin,  in  1884  followed 
Sitt  as  municipal  conductor  in  Chemnitz,  and 
in  1890  was  orchestral  conductor  at  Ham- 
burg. In  1893  he  came  to  New  York,  lead- 
ing some  orchestral  concerts,  in  1894  led  the 
Trocadero  concerts  at  the  Columbian  Ex- 
position at  Chicago,  and  in  1895-99  organized 
and  conducted  the  San  Francisco  Symphony 
Orchestra.  In  the  summer  of  1899  his  success 
at  concerts  at  Woodside  Park  in  Philadelphia 
led  to  the  establishment  in  1900  of  the  Phila- 
delphia Symphony  Orchestra,  which  under 
his  leadership  stepped  into  prominence.  In 
1905  he  also  undertook  the  direction  of  the 
Orpheus  and  the  Euridice  Clubs,  but  suc- 
cumbed under  the  triple  burden.     [  R.8  ] 

SCHELLING,  ERNEST  HENRY  (July 
26,  1876,  Belvidere,  N.J.),  was  a  pianistic 
prodigy  in  Philadelphia  at  four  and  a  half. 
In  1882-85  he  was  under  Mathias  at  the  Paris 
Conservatory,  and  then  with  Moszkowski, 
Pruckner,  Leschetizky,  Huber,  Earth  and  Pad- 
erewski  (1898-1902,  at  Morges,  Switzerland). 
He  has  given  recitals  in  France,  England, 
Germany,  Spain,  Russia  and  South  America, 
besides  many  appearances  in  the  United 
States.  He  has  toured  with  the  Boston 
Symphony,  Chicago,  Philadelphia  and  New 
York  Philharmonic  Orchestras,  and  played 
with  leading  orchestras  in  London,  Parisi 
Petrograd  and  Amsterdam.  He  has  composed 
a  'Fantastic  Suite'  for  piano  and  orchestra 
(Rahter,  Leipzig)  ;  a  Symphony  in  C  minor ; 
a  '  Symphonic  Legend ' ;  an  orchestral  suite  ; 
a  violin-concerto  (1916,  Boston,  played  by 
Kreisler) ;  a  sonata  for  violin  and  piano ; 
variations  for  piano  on  an  original  theme ; 
and  other  chamber-music  and  piano-pieces. 
The  'Fantastic  Suite,'  perhaps  his  best-known 
work,  was  written  in  1905-06,  orchestrated 
the  next  year,  and  first  played  by  the  composer 
with  the  Concertgebouw  Orchestra  in  Amster- 
dam on  Oct.  10,  1907,  Mengelberg  conducting. 
He  played  it  with  the  Boston  Symphony 
Orchestra  and  the  New  York  Symphony 
Society  in  1908,  and  in  1909  with  the  Thomas 
Orchestra  in  Chicago.  It  is  in  four  movements, 
and  the  themes  of  the  last  are  built  on  'Dixie,' 
'Old  Folks  at  Home'  and  'Yankee  Doodle'  (see 
thematic  analysis  by  the  composer  in  'Die 
Musik,'  vii.  17) .  He  enlisted  in  the  war  and  was 
made  captain.  He  went  to  Poland  with  his  inti- 
mate friend  Paderewski  in  the  fall  of  1918.  In 
the  summer  of  191 9  he  suffered  severe  injuries  in 
an  automobile  accident  in  Switzerland.   [  R.9  ] 


SCHENUIT,     ALFONS     WILLIAM     (b. 

1864).     See  Register,  8. 

SCHETKY,  J.  GEORGE  (d.  £1831).  See 
Register,  2. 

SCHEVE,  EDWARD  BENJAMIN  (Feb. 
13,  1865,  Herford,  Germany),  after  attending 
the  Cologne  Gymnasium  and  the  Geisenheim 
Institute,  in  1885-88  studied  at  Kullak's 
Academy  in  Berlin  under  Konig  (piano), 
Grunicke  (organ)  and  Becker  (composition). 
In  1886-88  he  also  taught  in  the  Academy. 
In  1888  he  came  to  Rochester  as  teacher  and 
organist  at  the  First  Baptist  Church,  and  in 
1902  went  to  Chicago  as  director  of  the 
German-American  Conservatory  and  or- 
ganist at  the  First  German  Baptist  Church. 
Since  1906  he  has  taught  composition  at 
Grinnell  College  in  Iowa.  In  1912  the  College 
made  him  Mus.D.  He  has  written  a  sym- 
phony in  D  minor,  op.  38  (1917,  Minneapolis 
Orchestra  at  Grinnell  and  Dubuque,  la.)  ; 
Festival  March  for  orchestra,  op.  12,  with 
chorus  and  organ  ad  lib.  (1909,  Grinnell,  1911, 
Chicago  Orchestra  at  Ravinia  Park) ;  a  piano- 
concerto,  op.  20  (1913,  Chicago  Orchestra) ; 
a  violin-concerto,  in  E-fiat,  op.  35 ;  a  violin- 
sonata  in  C  minor;  'Four  Sketches'  for  violin, 
'cello  and  piano;  the  oratorio  'The  Death 
and  Resurrection  of  Christ,'  op.  11  (1906, 
Chicago,  with  the  Chicago  Orchestra)  ;  'A 
Song  of  Penitence,'  op.  17,  for  soli,  chorus, 
orchestra  and  organ  (1916,  Grinnell)  ;  the 
piano-suite  '  Twilight-Pictures,'  op.  29  ;  '  Medi- 
tations on  Psalms,'  op.  31,  for  piano  with 
violin  ad  lib.;  an  organ-sonata  in  E-flat; 
a  'Suite  Religioso'  for  organ,  op.  18;  24  Pre- 
ludes and  Postludes  for  organ,  op.  9 ;  and 
many  songs,  anthems  and  piano-pieces.     [  R.7  ] 

SCHILLER,  MADELINE  (18507-1911). 
See  Register,  7. 

SCHILLING,  GUSTAV  (1803-1881).  See 
Register,  4. 

t  SCHILLINGS,  MAX  VON  (Apr.  19. 
1868,  Diiren,[Germany).  See]article  in  Vol.  iv. 
263.  Since  1908  he  has  been  general  music- 
director  at  Stuttgart,  and  received  the  title'  von ' 
in  1912.  To  the  list  of  works  add  the  music- 
drama  'Mona  Lisa,'  op.  31  (1915),  'Dem  Ver- 
klarten,'  op.  21,  for  baritone,  chorus  and  orches- 
tra, 'Glockenlieder,'  op.  22,  for  solo  voice  and 
orchestra,  'Hochzeitsglocken,'  op.  26,  for  bari- 
tone, chorus  and  orchestra,  the  melodrama 
'Jung  Olaf,'  op.  28,  a  violin-concerto  in  A 
minor,  op.  25,  and  a  string-quartet. 

SCHINDLER,  KURT  (Feb.  17,  1882, 
Berlin,  Germany),  studied  piano  with  Zieler, 
Gernsheim,  L.  C.  Wolf  and  Ansorge,  and  com- 
position with  Bussler  and  Thuille.  He 
also  took  courses  in  philosophy,  psychology 
and  literary  and  artistic  history  at  the  Uni- 
versities of  Berlin  and  Munich,  especially 
with     Friedlander,     Woelfflin,     Stumpff    and 


SCHINDLER 


SCHIRMER 


353 


Erich  Schmidt,  meanwhile  continuing  with 
music.  In  1902  he  became  conductor  of  the 
Stuttgart  Opera,  and  in  1903  at  the  Municipal 
Theater  in  Wiirzburg,  besides  assisting  Mottl 
and  Zumpe  at  the  Munich  summer-festivals 
and  Strauss  in  the  winter  at  Berlin.  In  1905 
Conried  brought  him  to  the  Metropolitan 
Opera  House  as  assistant-conductor  to  Hertz 
and  (1907-08)  to  Mahler.  In  1907  he  became 
reader  and  critic  for  G.  Schirmer,  except  an 
interval  in  1919-20.  In  1909  he  founded  the 
MacDowell  Chorus,  which,  with  the  House 
Music  Society,  in  1910  began  concert-giving. 
In  1912  this  became  the  Schola  Cantorum, 
which  he  has  made  one  of  the  significant  insti- 
tutions of  New  York.  Since  1912  he  has  also 
been  choir-director  at  Temple  Emanu-El.  In 
1913  he  was  in  charge  of  a  gala-concert  arranged 
by  the  Institute  Frangais  des  6tats-Unis  for  the 
French  ambassador,  illustrative  of  the  music 
of  the  various  French  provinces.  He  began 
publishing  songs  about  1900,  about  25  before 
coming  to  America  and  the  same  number 
since.  In  recent  years  he  has  been  much 
engaged  with  choral  works,  mostly  based  on 
the  extensive  folk-song  material  that  he  has 
collected.  In  his  research-work  he  has  the 
advantage  of  knowing  many  languages,  in- 
cluding Russian  and  Spanish.  He  has  edited 
five  collections  of  Russian  music,  two  of 
Spanish,  one  of  Finnish  student-songs,  etc., 
besides  reproducing  many  single  illustrations 
from  other  national  treasuries.  He  has  made 
most  of  the  translations,  with  Deems  Taylor 
as  collaborator.  Among  his  many  works  are 
the  following : 

'Dance  and  Devotion,'  op.  4,  four  songs  from 
Gustav  Falke. 

Five  Songs,  op.  5,  from  Hartleben,  Busse,  Holty 
and  Brentano. 

'Trois  Melodies  de  Paul  Verlaine,'  op.  7. 

'Old  Swiss  Lays,'  op.  9,  from  Gottfried  Keller. 

Three  Songs  from  Keats,  op.  11. 

'Three  Sonnets  of  Mediaeval  Italy,'  op.  14,  trans- 
lated by  Rossetti. 

Three  English  Songa,  op.  15,  from  Wilde,  Swin- 
burne and  Meredith. 

'  Vasilissa  the  Fair'  or  'The  Prince  and  the  Maiden,' 
for  chorus. 

'A  Miracle  of  St.  Raymond,'  op.  18,  after  Movera, 
for  12-part  chorus  a  cappella. 

'A  Miracle  of  the  Virgin  Mary,'  op.  19,  after  a 
Spanish  canticle,  for  8-part  chorus  a  cappella 
or  4-part  with  organ. 

'The  Virgin's  Plaint,'  op.  20,  from  the  Mystery 
of  Elx,  after  Pedrell,  for  solo,  chorus  and  harp. 

These,  with  many  others  from  different 
sources,  some  of  them  variously  arranged 
either  for  chorus  or  for  solo,  are  mostly  pub- 
lished by  Schirmer  (some  Ditson  or  Gray). 
His  collections  include  A  Century  of  Russian 
Song  from  Glinka  to  Rachmaninoff,  1911, 
Masters  of  Russian  Song,  2  vols.,  1917,  A 
Cappella  Choruses  from  the  Russian  Liturgy, 
1913-17,  Sixty  Russian  Folk-Songs,   3  vols., 


1918-19,  /Songs  of  the  Russian  People,  1915, 
Ten  Student-Songs  of  Finland,  1915,  Six  Old 
French  Christmas  Carols,  1908,  The  Development 
of  Opera  (illustrative  selections  from  various 
periods),  1912,  Old  Spanish  Sacred  Motets, 
1918,  Modern  Spanish  Choral  Works,  1918. 
He  has  also  written  articles  on  Mussorgsky 
and  Schonberg,  and  numerous  valuable  intro- 
ductions to  his  collections.     [  R.9  ] 

SCHIRMER,  GUSTAV  (1829-1893).  See 
Vol.  iv.  265,  and  Register,  4  (also  following 
articles). 

SCHIRMER,  GUSTAVE  (1864^1907).  See 
Register,  7  (also  below). 

SCHIRMER,  RUDOLPH  ERNEST  (July 
22,  1859,  New  York:  Aug.  20,  1919,  Santa 
Barbara,  Cal.),  the  eldest  son  of  Gustav 
Schirmer,  was  early  educated  in  New  York 
and  Weimar,  and  graduated  from  Princeton 
University  in  1880  and  from  Columbia  Law 
School  in  1884.  At  his  father's  death  in  1893 
he  became  president  of  the  firm  of  G.  Schirmer. 
Besides  being  more  and  more  intimately 
concerned  in  the  large  business  of  this  house, 
he  was  active  in  many  other  ways.  He  was 
a  director  in  both  the  Oratorio  and  the  Sym- 
phony Societies,  a  trustee  of  the  Institute  of 
Musical  Art,  and  a  donor  of  libraries  to  the 
latter,  to  Princeton  University  and  to  the 
city  of  Santa  Barbara.  With  his  younger 
brother,  Gustave,  he  was  not  only  instru- 
mental in  vastly  extending  the  publishing- 
business  in  which  they  were  both  engaged, 
but  in  fostering  whatever  made  for  the  ex- 
tension of  musical  culture  of  the  highest  kind. 
[  R.7  ] 

SCHIRMER,  G.,  INC.,  is  the  corporate 
name  of  the  great  publishing-firm  in  New 
York  established,  as  told  in  Vol.  iv.  265-6, 
by  Gustav  Schirmer  and  developed  by  his 
two  sons.  The  total  number  of  its  publi- 
cations is  now  about  30,000,  of  which  perhaps 
22,000  are  piano-pieces,  songs  or."  part-songs. 
The  Library  of  Musical  Classics  is  approaching 
a  total  of  1500.  A  Scholastic  Series  (all 
originally  published  by  the  firm)  was  started 
in  1918.  Two  series  of  orchestral  publications 
are  also  issued.  The  number  of  large  piano- 
scores  of  operas  and  oratorios,  and  of  full 
scores  of  chamber-  and  orchestral  works,  is 
constantly  growing.  In  the  Golden  Treasury 
of  Music  are  numerous  collections,  instru- 
mental and  vocal,  many  of  which  are  unique 
in  their  way.  American  composers  exten- 
sively represented  include  Mrs.  Beach,  Hadley, 
Goldmark,  Campbell-Tipton,  Burleigh,  Her- 
bert, De  Koven,  Coerne,  Mason,  John  Powell, 
D.  S.  Smith,  Rogers,  Woodman,  Schindler, 
Marzo,  Sousa,  Coombs,  Vogrich,  Friml,  H.  A. 
and  J.  S.  Matthews,  Strube,  Speaks,  and  a  host 
of  others.  Works  by  foreign  composers  are 
also    numerous.     Theoretical    and    historical 


354 


SCHLESINGER 


SCHOLA  CANTORUM 


treatises  of  importance  have  often  been  put 
forth,  such  as  Goetschius'  several  text-books, 
Baker's  Dictionary  of  Musicians,  Sonneck's 
Early  Opera  in  America,  etc.  Since  1915 
'The  Musical  Quarterly,'  a  monthly  of  the 
highest  class,  has  been  added.  The  present 
headquarters  is  at  3  East  43rd  Street,  in  a 
building  specially  erected  in  1909.  The 
engraving,  printing  and  binding  department 
is  located  in  Long  Island  City  —  one  of  the 
finest  music-making  plants  in  the  world,  with 
a  staff  of  275  workers.  Since  1891  the  Boston 
Music  Co.  has  been  a  branch  of  the  business. 
A  London  branch  was  maintained  in  1913-17, 
then  becoming  Winthrop  Rogers,  Ltd. 

SCHLESINGER,  DANIEL  (1799-1838). 
See  Register,  3. 

SCHLESINGER,  SEBASTIAN  BENSON 
(1837-1917).     See  Register,  7. 

SCHMIDT,  ARTHUR  P.  (b.  1846).  See 
Register,  5. 

SCHMIDT,  ARTHUR  P.,  of  Boston,  is  a 
music-publishing  business  established  in  1876. 
It  now  has  branches  in  New  York  and  Leipzig. 
Besides  an  extensive  general  catalogue,  the 
firm  has  made  a  specialty  of  the  work  of 
American  composers,  in  both  small  and  large 
forms.  Among  its  notable  publications  for 
orchestra  are  Mrs.  Beach's  'Gaelic'  Sym- 
phony, Chadwick's  2nd  and  3rd  Symphonies, 
Foote's  'Francesca  da  Rimini'  and  Suites  in 
D  minor  and  E,  Hadley's  'Four  Seasons' 
Symphony,  MacDowell's  'Lamia'  and  Suite 
in  A,  Paine's  2nd  Symphony  and  'GEdipus 
Tyrannus,'  and  Stojowski's  Violin-Concerto ; 
much  chamber-music  by  these  composers 
and  others ;  and  a  notable  list  of  cantatas 
and  similar  choral  works  of  considerable 
dimensions.  The  catalogue  of  songs  and 
piano-pieces  is  extensive  and  representative. 
In  attention  to  this  field  Schmidt  was  one  of 
the  first  and  has  always  maintained  promi- 
nence and  importance.  The  Boston  head- 
quarters is  at  120  Boylston  St. 

SCHMINKE,  OSCAR  EBERHARD  (Dec. 
12,  1881,  New  York),  took  a  partial  course 
at  the  College  of  the  City  of  New  York  and 
graduated  from  the  College  of  Dentistry 
in  1903.  In  1910  he  gave  up  his  practice  as 
dentist  for  composition.  He  had  had  training 
in  piano  and  organ  from  Spielter  and  Dethier, 
with  some  lessons  in  theory  from  Spicker,  but 
is  largely  self-taught.  For  the  organ  he  has 
published  an  effective  'Marche  Russe,'  a 
'March  of  the  Toys,'  an  'Elegy  in  the  form  of 
a  March,'  a  Pastorale,  Festal  Postlude,  etc., 
and  several  songs,  among  them  'A  million 
little  diamonds.'  He  also  has  settings  of 
Tagore  poems  (one  with  orchestra),  a  Scherzo 
for  piano,  a  'Poeme  Exotique,'  a  'Fantasy  on 
Oriental  Themes'  and  other  works  for  organ, 
and  various  choruses  and  songs.     [  R.IO  ] 


SCHMITZ,  ADOLPH.     See  Register,  3. 

SCHNABEL-TOLLEFSEN,  AUGUSTA 
(b.  1885).     See  Register,  9. 

SCHNECKER,  PETERj  AUGUST  (1850- 
1903).     See  Register,  6. 

SCHNEIDER,  EDWARD  FABER  (b. 
1872).     See  Register,  9. 

SCHNEIDER,  HANS  (b.  1863).  See  Reg- 
ister, 7. 

SCHOEBEL,  OSCAR  MELCHIOR  (b. 
1850).     See  Colleges,  3  (Campbell  C,  Kan.). 

SCHOEN,  ISAAC  LEOPOLD  (b.  1858). 
See  Register,  7. 

SCHOENEFELD,  HENRY  (Oct.  4,  1857, 
Milwaukee),  first  studied  with  his  father, 
a  'cellist,  and  his  brother,  one  of  Joachim's 
pupils.  From  1875  he  had  three  years  at 
Leipzig,  with  one  at  Weimar  under  Lassen. 
In  1879  he  settled  in  Chicago  as  teacher  and 
conductor,  being  connected  with  the  Chicago 
Mui-ical  College  and  the  Columbia  School  of 
Music,  and  leading  the  Germania  Mjlnnerchor 
and  other  societies.  Since  1904  he  has  been 
at  Los  Angeles,  where  he  conducts  the  Ger- 
mania Turnverein  and  the  Woman's  Sym- 
phony Orchestra.  His  compositions  include 
an  opera  on  an  Indian  subject;  a  dramatic 
scene,  'The  Three  Indians,'  for  bass,  men's 
chorus  and  orchestra  ;  the  '  Rural '  Symphony 
in  G  minor  (National  Conservatory  prize, 
1892);  the  'Springtime'  Symphony  (Seidl 
Orchestra) ;  the  '  Festival '  and  '  In  the  Sunny 
South'  Overtures;  two  'American  Rhap- 
sodies' for  orchestra;  many  works  for  small 
orchestra,  such  as  two  'Indian  Legends,' 
a  'Menuet  Caracteristique,'  the  nocturne 
'California,'  a  'Suite  Characteristic'  (Summy), 
and  many  pieces  for  strings ;  a  violin-concerto, 
a  Sonata  in  G  minor  for  violin  and  piano 
(Simrock),  which  won  the  Marteau  prize  in 
1899 ;  a  'cello-sonata,  op.  70 ;  a  piano-con- 
certo;  an  'Air'  for  the  G-string,  with  or- 
chestra ;  several  pieces  for  violin  and  for 
'cello ;  and  many  piano-pieces,  songs,  choruses 
and  various  transcriptions.  Many  of  these 
shorter  works  are  published  by  Heffelfinger, 
Summy,  Presser,  Schmidt,  Church,  Luck- 
hardt,  etc.     [  R.6  ] 

SCHOETTLE,  GUSTAV  (b.  1877).  See 
Register,  8. 

SCHOFIELD,  ROBERT  LE  ROY  (b.  1876). 
See  Register,  8. 

SCHOLA  CANTORUM,  THE,  of  New 
York,  which  began  in  1909  as  the  MacDowell 
Chorus  (fostered  by  the  MacDowell  Club) 
and  had  notable  success  as  such,  especially 
in  conjunction  with  the  Philharmonic  Society 
under  Mahler,  in  1912  adopted  its  present 
name  and  has  since  steadily  maintained  its 
position  as  a  foremost  exponent  of  a  cappella 
singing.  Its  only  conductor  has  been  Kurt 
Schindler,  to  whose  indefatigable  enthusiasm. 


SCHOLES 


SCHROEDER 


355 


with  his  striking  ability  in  bringing  to  light 
works  quite  out  of  the  line  of  ordinary  render- 
ing, its  success  has  been  mainly  due.  The 
chorus  in  recent  years  has  averaged  150-200 
singers,  selected  carefully  for  vocal  skill  and 
willingness  to  give  time  for  thorough  practice. 
Besides  giving  many  more  extended  works 
that  are  rarely  heard,  the  chorus  has  made 
a  specialty  of  the  folk-songs  of  many  nations. 
Its  concerts  have  always  had  high  individu- 
ality, supplying  an  element  in  the  season  of 
the  metropolis  that  is  unique  as  well  as  charm- 
ing. Among  the  works  in  its  repertoire  the 
following  may  be  noted,  most  of  them  not 
before  given  in  New  York  or  America : 

With  orchestra  — 

Chabrier's  'Bris6is'  (1911),  'Ode  to  Music'  (1911) 
and  'Epithalame  de  Gwendoline';  Liszt's  'St. 
Elizabeth'  (1911)  and  Finale  to  the  'Dante'  Sym- 
phony ;  Debussy's  '  Le  Martyre  de  St.-S6bastien ' 
(1912)  and  'Les  Sirtoes'  (1910);  a  chorus  from 
Busoni's  'Turandot';  Brahms'  'Gesang  aus  Fingal' ; 
Rimsky-Korsakov's  '  Christmas  Eve ' ;  Mussorgsky's 
'Joshua'  (1911);  choruses  from  Borodin's  'Prince 
Igor';  Saint-Saens'  'La  Nuit';  Beethoven's  9th 
Symphony  (1913) ;  Verdi's  Stabat  Mater  (1914)  ; 
choruses  from  Purcell's  'King  Arthur'  and  'Dido 
and  jEneas ' ;  Zandonai's  '  Padre  Nostro ' ;  Cole- 
ridge-Taylor's 'The  Slave  Singing  at  Midnight'; 
Gardiner's  '  News  from  Whydah ' ;  and  Grainger's 
'Father  and  Daughter.' 
With  piano  — 

Tiersot's  '  Two  Canadian  Folk-Songs ' ;  Mus- 
sorgsky's '  Cradle-Song ' ;  Franck's  '  La  Vierge  &  la 
Crfiche';  Wolf's  'Der  Feuerreiter ' ;  d'Indy's  'Sur 
la  Mer';  Charpentier's  'Chant  du  Muletier'  and 
'S6r4nade  k  Watteau';  Stojowski'a  'Springtime' 
Cantata;  Fairchild's  'A  Bible  Lyric';  and  Suk's 
'Seven  Slavonic  Folk-Songs.' 
A  cappella  — 

A  great  variety  of  old  English  Madrigals  and  Carols, 
Welsh  Fighting-Songs,  Russian  Anthems  and  Folk- 
Songs,  Finnish  Student-Songs,  French  Folk-Songs 
and  Madrigals  of  the  Renaissance,  Catalonian  Folk- 
Songs  and  Christmas  Songs,  Negro  Songs,  etc. ; 
also  Strauss'  'Der  Abend'  (16-part) ;  Bantock's 
Choral  Ode  from  'Atalanta  in  Calydon'  (20-part) ; 
Bourgeault-Ducoudray's  'Ronde  Bretonne';    etc. 

i  SCHOLES,  PERCY  A.  (1877,  Leeds,  Eng- 
land), has  given  himself  almost  wholly 
to  educational  interests.  In  1900-01  and 
'03  he  was  music-master  at  Kent  College  in 
Canterbury,  in  1901-03  at  Kingswood  College 
in  South  Africa  and  from  1904  for  a  time 
teacher  in  the  Leeds  Municipal  School  of 
Music,  and  inspector  for  the  Board  of  Edu- 
cation in  London.  He  has  long  served  as 
extension-lecturer  for  Oxford,  London  and 
Manchester  Universities.  He  founded  the 
Home  Music-Study  Union  and  since  1908  has 
been  the  energetic  editor  of  its  organ,  'The 
Music-Student,'  which  has  included  many 
articles  of  general  importance,  and  also 
'Youth  and  Music,'  for  children.  He  has 
published  Everyman  and  his  Music,  1917, 
An  Introduction  to  British  Music,  1918,  and 
A  Listener's  Guide  to  Music,  1919,  and  has  a 


work  on  Purcell  that  is  almost  ready.  He 
has  also  written  extensively  for  periodicals. 
Besides  holding  a  degree  from  Oxford,  he  is 
an  associate  of  the  R.  C.  M.,  on  innumerable 
committees  connected  with  musical  enter- 
prises, and  president  of  the  Union  that  regards 
music  in  the  large  'public  schools'  like  Eton, 
Harrow  and  the  like.  During  the  Great  War 
he  was  extremely  active  as  lecturer  under  the 
War  Office  and  Y.  M.  C.  A.  and  as  organizer 
of  musical  activities  in  camps  both  in  England 
and  on  the  Continent.  In  1915  he  visited 
America  at  the  invitation  of  the  M.  T.  N.  A. 
and  inspected  manifold  musical  enterprises, 
besides  lecturing  at  many  colleges. 

SCHOMACKER  [Schumacher],  JOHANN 
HEINRICH  (1800-1875).     See  Register,  3. 

'SCHOOL  MUSIC  MONTHLY,  THE.' 
See  note  in  Vol.  iii.  689.  It  is  now  known  as 
'School  Music'  It  has  made  its  place  not 
only  by  supplying  general  news  and  other 
material  regarding  public-school  music,  but 
by  its  faithful  reports  of  the  music-section  of 
the  National  Education  Association,  the 
Supervisors'  National  Conference,  the  M.  T. 
N.  A.,  and  other  bodies  dealing  with  this 
branch  of  musical  education.  There  are  now 
but  five  issues  per  year. 

SCHOOL-MUSIC.     See  Public    Schools. 

SCHRADIECK,  HENRY  (Apr.  29,  1846, 
Hamburg,  Germany  :  Mar.  25,  1918, 
Brooklyn).  See  article  in  Vol.  iv.  274.  He 
was  head  of  the  violin-department  of  the 
College  of  Music  in  Cincinnati  in  1883-89. 
In  1894-98  he  held  a  similar  position  in  the 
National  Conservatory  in  New  York,  going 
thence  to  the  Broad  Street  Conservatory  in 
Philadelphia.  After  1912  he  was  also  con- 
nected with  the  American  Institute  of  Applied 
Music  in  New  York.     [  R.7  ] 

SCHREINER,  FRANCIS  C.  See  Col- 
leges, 1  (Seton  Hall  C,  N.  J.). 

SCHROEDER,  ALWIN  (June  15,  1855, 
Neuhaldensleben,  Germany),  was  early  a 
piano-pupil  of  his  father  and  J.  B.  Andr6,  but 
later  studied  violin  with  De  Ahna  in  Berlin 
and  theory  with  Tappert.  With  his  three 
brothers  the  Schroeder  Quartet  was  formed 
in  1871-72,  he  taking  the  viola.  Self-taught 
on  the  'cello,  he  became  first  'cellist  in  Liebig's 
Orchestra  in  1875,  and  five  years  later  joined 
the  Gewandhaus  Orchestra  in  Leipzig.  Here 
he  taught  in  the  Conservatory  and  played 
in  the  Petri  Quartet.  In  1891  he  came  to 
Boston,  becoming  solo  'cellist  in  the  Boston 
Symphony  Orchestra  and  a  member  of  the 
Kneisel  Quartet.  With  the  rest  of  the 
Quartet  he  resigned  from  the  Orchestra  in 
1903  and  removed  to  New  York.  He  con- 
tinued with  the  Quartet  until  the  spring  of 
1907,  when  he  returned  to  Germany.  In 
Frankfort-am-Main  he  was  for  one  year  solo 


356 


SCHUBERTH 


SCHWEITZER 


'cellist  of  the  Museum  Orchestra  and  teacher 
in  the  Hoch  Conservatory,  but  in  1908  he 
returned  to  Boston  and  joined  the  Hess- 
Schroeder  Quartet.  After  two  years  this 
organization  was  disbanded,  and  he  resumed 
(till  1912)  his  former  place  in  the  Symphony 
Orchestra.  In  1915  he  joined  the  Margulies 
Trio  (New  York)  and  the  Boston  String 
Quartet.  As  both  soloist  and  ensemble-player 
he  is  held  in  the  highest  estimation.  He 
has  published  Eludes  de  Violoncelle,  Technische 
Studien,  and  Ne^le  Tonleiter-Studien,  and  has 
edited  Kammermusikstudien,  3  vols.,  and 
Klassiches  Album,  2  vols.     [  R.8  ] 

SCHUBERTH,  JULIUS  FERDINAND 
GEORG   (1804-1875).     See  Register,  4. 

SCHUBERTH,  J.,  &  CO.  See  article  in 
Vol.  iv.  335. 

SCHUECKER,  EDMUND  (1860-1911). 
See  Register,  8. 

SCHUECKER,  HEINRICH  (1867-1913). 
Bee  Register,  7. 

SCHUECKER,  JOSEPH  E.  (b.  1886). 
See  Register,  9. 

SCHULTZE,  WILHELM  HEINRICH 
(1828-1888).     See  Register,  4. 

SCHULZ,  LEO  (Mar.  28,  1865,  Posen, 
Germany),  played  in  public  on  the  'cello  when 
only  five.  He  studied  at  the  Berlin  Hoch- 
Bchule  and  made  his  mature  debut  in  1876. 
In  1885  he  became  principal  'cellist  in  the 
Philharmonic  Orchestra,  and  in  1886-89  held 
the  same  position  at^the  Gewandhaus  in  Leipzig. 
Coming  then  to  America,  he  was  for  one  year 
in  the  Boston  Symphony  Orchestra,  but  in 
1890  began  his  long  connection  with  the  New 
York  Philharmonic  Society,  unbroken  save 
for  the  years  1906-08,  when  he  played  with 
the  Symphony  Society.  For  many  years  he 
taught  at  the  National  Conservatory  and 
conducted  its  orchestra,  and  in  1904-15  he 
was  a  member  of  the  Margulies  Trio.  For 
thirty  years  he  has  been  much  in  request  as 
soloist.  He  has  written  three  string-quartets, 
a  string-quintet,  a  piano-trio,  a  'cello-concerto 
and  other  'cello-pieces,  a  cantata  and  some 
songs.  He  has  also  edited  several  collections 
for  his  instrument.     [  R.7  ] 

SCHUMANN-HEINK,  ERNESTINE,  n6e 
Rossler  (June  15,  1861,  Lieben,  near  Prague, 
Bohemia).  See  article  in  Vol.  iv.  383-4.  Her 
father  was  an  army  officer.  From  her  Italian 
mother  she  learned  many  operatic  airs  as  a 
child,  and  at  eleven  sang  in  the  choir  of  the 
Ursuline  convent  at  Prague.  Her  first  real 
lessons  were  in  1874,  from  Marietta  von 
Leclair  of  Graz,  where  in  1876  she  was  alto- 
soloist  in  Beethoven's  9th  Symphony  with 
the  Academischer  Gesangverein.  At  Dresden 
she  studied  with  Aloysia  Krebs-Michalesi 
and  Franz  Wiillner,  and  made  her  operatic 
d6but  in  1878.     Her  first  appearance  at  Berlin 


was  at  Kroll's  in  1887.  In  1896-1906  (except 
1904)  she  sang  at  all  the  performances  of  the 
'Ring'  at  Bayreuth  as  Erda,  First  Norn  or 
Waltraute.  In  1898  she  was  engaged  at  the 
Berlin  Opera,  with  leave  to  sing  in  the  winters 
in  New  York.  In  America  she  was  first 
heard  as  Ortrud  on  Nov.  7,  1898,  in  Chicago, 
and  on  Jan.  9,  1899,  at  the  Metropolitan 
in  New  York.  Her  signal  success  led  her  to 
purchase  release  from  her  Berlin  contract. 
In  1903-04  she  made  her  first  extended 
concert-tour  in  America,  and  the  next  year 
was  everywhere  heard  in  Edwards'  'Love's 
Lottery.'  In  1908-09  she  sang  in  opera  and 
concert  in  the  chief  cities  of  Europe,  in  1909 
creating  the  role  of  Clytemnestra  in  Strauss' 
'Elektra'  at  Dresden.  She  retired  from  the 
Metropolitan  in  1904,  but  has  occasionally 
sung  there,  at  the  Manhattan  or  with  the 
Chicago  Opera  Company.  Her  activity  has 
been  mainly  transferred  to  the  concert-stage, 
with  a  hundred  or  more  song-recitals  annually 
and  frequent  engagements  with  leading 
orchestras.  Her  operatic  repertoire  includes 
about  150  roles,  from  Wagnerian  drama  to 
light  opera.  She  was  the  wife  of  Ernst 
Heink  in  1882-92,  of  the  actor  Paul  Schumann 
in  1893-1904,  and  of  William  Rapp,  Jr.,  of 
Chicago  in  1905-14.  In  1905  she  became  an 
American  citizen.     [  R.8  ] 

SCHWAB,  CHARLES  M.  (b.  1862).  See 
Register,  9. 

SCHWARTZ,  GEORGE  FOSS  (b.  1872). 
See  Register,  8. 

X  SCHWEITZER,  ALBERT  (Jan.  4,  1875, 
Kaysersberg,  Alsace),  is  distinguished  in 
theology,  medicine  and  music.  His  university 
studies  were  at  Strassburg,  Paris  and  Berlin. 
In  1902  he  began  teaching  at  Strassburg, 
but  turned  aside  to  prepare  for  work  as  medi- 
cal missionary  in  Equatorial  Africa.  There, 
nominally  under  the  Mission  fivangelique  of 
France,  he  was  stationed  at  Lambaren6  on  the 
Ogowe  River.  During  the  war  he  was  interned 
as  a  German  subject,  but  has  lately  returned 
to  France.  His  chief  theological  books  are 
Die  Religionsphilosophie  Immanuel  Kants, 
1899,  and  Das  Messianitdts-  und  Leidens- 
geheimniss  —  eine  Skizze  des  Lebens  Jesu,  1901 
(in  English  as  The  Quest  of  the  Historical 
Jesus)  —  a  specially  significant  work. 
Throughout  his  life  he  has  been  a  musical 
student,  beginning  with  organ-lessons  in 
Miilhausen  and  Strassburg,  and  from  1893 
with  Widor  in  Paris.  From  1896  he  was 
organist  for  Bach  concerts  at  Strassburg, 
from  1906  was  organist  for  the  Bach  Society 
in  Paris,  and  in  1909  was  chairman  of  the 
organ-making  conference  at  the  I.  M.  G. 
Congress  in  Vienna.  He  has  published  Jean- 
Sebastien  Bach,  le  Musicien-Poete,  1905 
(English    translation,    enlarged,    by    Ernest 


SCIONTI 


SEARCH 


357 


Newman,  2  vols.,  1911),  which  is  an  extraor- 
dinarily valuable  work,  Deutsche  und  fran- 
zosische  Orgelbaukunst  und  Orgelkunst,  1906, 
and,  as  editor  with  Widor,  of  the  complete 
organ-works  of  Bach  (Schirmer).  See  article 
on  'Schweitzer  as  Missionary'  in  'The  Hibbert 
Journal,'  July,  1914. 

SCIONTI,  S.  See  Colleges,  2  (C.  of  St. 
Catharine,  Minn.). 

SCOTT,  CARLYLE  (b.  1873).  See  State 
Universities  (Minn.). 

t  SCOTT,  CYRIL  MEIR  (Sept.  27,  1879, 
Oxton,  England).  See  article  in  Vol.  iv.  390. 
After  three  years  at  Frankfort,  he  located 
himself  at  Liverpool,  chiefly  occupied  with 
composition.  He  has  also  done  much  literary 
work,  and  has  lectured  on  occult  philosophy. 
His  larger  works  are  as  follows : 

Symphony    No.    1     (given    at    Darmstadt,    now 

destroyed) . 
Symphony  No  2  (given  by  Wood),  later  rewritten 

as    'Three    Orchestral    Dances'     (Birmingham, 

conducted  by  composer). 
'Heroic'  Suite,  for  orchestra  (given  by  Richter  at 

Manchester,  later  withdrawn). 
Overture  to  'Pell6as  et  M61isande'  (Frankfort). 
Overture    to     'Princess     Maleine,'     with    chorus 

(Vienna),  later  revised. 
'Christmas'  Overture,  with  'Nativity  Hymn'  for 

chorus  (performance  at  Vienna  stopped  by  the 

war). 
'Ballad  of  Fair  Helen  of  Kirkconnel,'  for  baritone 

and  orchestra. 
Two  Passacaglias  on  Irish  Themes,  for  orchestra 

(given  by  Beecham). 
Piano-Concerto    (given    by    Beecham    at    English 

Festival)  (Augener). 
Aubade     for     orchestra     (Darmstadt,     Dresden, 

Berlin),  later  revised. 
Rhapsody  for  orchestra. 
Opera,  'The  Alchemist.' 
'La  Belle  Dame  sans  Merci,'  for  soprano,  baritone 

and  orchestra. 
Piano-Quartet,  op.  16  (Boosey). 
String-Quartets,  opp.  28  and  31. 
Piano-Quintet,  op.  57. 
Piano-Sextet,  op.  26. 

Piano-Trio  —  early  work,  now  withdrawn. 
'Tallahassee'  Suite,  for  violin  and  piano  (Schott). 
'Handelian   Rhapsody,'   for  piano    (Elkin,   edited 

by  Grainger). 
Piano-Sonata,  op.  66  (Elkin). 
'  Pastoral  Suite  '  for  piano  (Elkin) . 

He  has  also  written  a  large  number  of  piano- 
pieces  and  songs,  illustrating  the  versatility 
of  his  mind  and  his  peculiar  power  of  imagi- 
native expression.  He  has  published  seven 
volumes  of  poems  and  The  Philosophy  of 
Modernism  (in  connection  with  music),  1917. 
See  biography  by  Hull,  1918,  besides  many 
articles  in  musical  periodicals. 

SCOTT,  HENRI  GUEST  (Apr.  8,  1876, 
Coatesville,  Pa.),  studied  in  Philadelphia  and 
under  Saenger  in  New  York.  His  first  work 
as  bass  was  in  church,  concert  and  oratorio. 
In  1909-10  he  appeared  at  the  Manhattan 
Opera  House,  his  first  performance  being  as 


Ramphis  in  'Aida.'  The  next  season  he  was 
at  the  Teatro  Adriano  in  Rome.  In  1912-14 
he  was  a  leading  artist  for  the  Chicago  Opera 
Company,  and  since  1915  has  been  with  the 
Metropolitan  Opera  House  in  New  York. 
He  is  recognized  as  a  basso  of  exceptional 
gift.  His  favorite  roles  are  Mephisto, 
Escamillo,  Leporello,  Basilio,  the  King  (in 
'Lohengrin'  and  'Tristan'),  Plunkett,  Dr. 
Miracle  and  Lothario.  He  is  also  noted  as 
an  oarsman.     [  R.9  ] 

SCOTTI,  ANTONIO  (Jan.  25,  1866,  Na- 
ples, Italy).  See  article  in  Vol.  v.  666. 
His  first  American  appearance  was  as  Don 
Giovanni  on  Dec.  27,  1899,  at  the  Metro- 
politan Opera  House  in  New  York.  He  has 
remained  there  ever  since,  but  has  also  sung 
often  at  Covent  Garden  in  London.  In  1919- 
20  he  toured  extensively  with  his  own  com- 
pany. To  the  list  of  roles  add  Belcore,  Fal- 
staff,  Germont,  Ashton,  Marcel,  Escamillo, 
Comte  de  Nevers  and  Valentin.     [  R.8  ] 

tSCRIABIN,  ALEXANDER  NIKOLAI- 
EVITCH  (Jan.  10,  1872,  Moscow,  Russia 
:  Apr.  14,  1915,  Moscow).  See  article  in 
Vol.  iv.  402-3.  He  began  extemporizing  on 
the  piano  at  five,  and  early  showed  a  remark- 
able musical  memory.  After  leaving  Moscow 
he  Hved  for  a  time  in  Switzerland  and  two  years 
in  Brussels.  He  visited  America  in  1907,  and 
first  went  to  London  in  1914.  His  works 
since  1903  are  as  follows : 

Sonatas:  No.  4,  op.  30,  in  F-sharp ;  No.  5,  op. 
53 ;  No.  6,  op.  62 ;  No.  7,  op.  64 ;  No.  8,  op.  66 ; 
No.  9,  op.  68;   No.  10,  op.  70. 

Preludes:   opp.  31,  33,  35,  37,  39,  48,  67,  74. 

'Poems':  opp.  32,  34  ('Tragique'),  36  ('Satan- 
ique'),  41,  44,  54  ('de  ,rExta3e'),  61  ('Noc- 
turne'), 63  ('Masque,'  'Etranget6'),  69,  71,  72 
('Vers  la  Flamme'). 

Waltzes  :  opp.  38,  47. 

Mazurkas :  op.  40. 

fetudes :  opp.  42,  65,  and  also  in  Pieces. 

Symphony  No.  3,  'The  Divine  Poem,'  in  C,  op.  43. 

'Prom6th6e'  ('Poeme  de  feu'),  op.  60,  first  given, 
with  color-keyboard,  by  Altschuler  and  the 
Russian  Symphony  Orchestra,  Mar.  20,  1915, 
New  York) . 

Pieces,  etc. ;  opp.  45,  46,  49,  51,  52,  56,  57,  58,  59,  73. 

See  biography  by  Hull,  1916,  and  r6sum6 
and  bibliography  in  Baker,  Diet,  of  Musicians, 
p.  881. 

SEALY,  FRANK  LINWOOD  (b.  1858). 
See  Register,  7. 

SEARCH,  FREDERICK  PRESTON  (July 
22,  1889,  Pueblo,  Colo.),  from  1901  was  trained 
as  a  'cellist  in  Jena,  by  Joseph  Adamowski  in 
Boston,  Mattioli  and  Rugovoy  in  Cincinnati 
and  Klengel  in  Leipzig,  also  taking  theory 
with  Schreck  and  Reger  and  orchestration 
with  Hofmann  and  Sitt.  In  1910-12  he  was 
in  the  Gewandhaus  Orchestra  under  Nikisch. 
In  1908-11  he  was  Leipzig  correspondent  for 
'Music   News'  in  Chicago.      In    1912-15   he 


358 


SEASHORE 


SEIDL 


gave  concerts  in  America,  appearing  in  New 
York  in  1914.  For  a  time  he  conducted 
summer-plays  in  California.  In  1915-16  he 
led  the  'cellos  in  the  American  Symphony 
Orchestra  in  Chicago,  and  in  1916-17  was  in 
the  orchestra  of  the  Chicago  Opera  Company. 
In  1915-16  he  was  assistant-editor  of  'The 
Violinist,'  and  in  1917  conducted  at  the  per- 
formance of  'The  Crisis.'  Early  in  1918  he 
enlisted  as  musician  in  the  Navy  and  was 
appointed  band-master.  His  works  include 
four  string-quartets,  a  string-sextet,  two  so- 
natas for  'cello  and  piano,  a  Festival  Over- 
ture (1915,  San  Francisco  Exposition,  under 
Bendix),  a  'Romantic  Symphony'  in  D,  and 
several  shorter  works,  including  20  songs, 
besides  incidental  music  for  Heron's  'Monte- 
zuma,' Rice's  'Yolanda  of  Cyprus'  and 
Hilliard  and  Heron's  'Tusitala,'  and  an 
'Aztec  Dance,'  for  string-quartet  or  orchestra. 
[  R.IO  ] 

SEASHORE,  CARL  EMIL  (Jan.  28,  1866, 
Morlunda,  Sweden),  brought  up  in  America, 
graduated  at  Gustavus  Adolphus  College  in 
1891  and  took  a  Ph.D.  at  Yale  in  1895,  where 
he  continued  as  teacher  of  psychology  and 
philosophy  till  1902.  Since  1902  he  has  been 
at  the  State  University  of  Iowa,  becoming 
dean  of  the  Graduate  College  in  1908.  Early 
trained  in  music,  he  has  given  increasing  at- 
tention to  problems  of  musical  psychology, 
conducting  extensive  experiments  of  various 
kinds,  especially  for  ascertaining  degrees  of 
musical  talent.  He  classifies  the  latter  under 
these  heads :  Sensitivity,  Action,  Memory 
and  Imagination,  Intellect  and  Feeling.  For 
each  of  these  both  quantitative  and  quali- 
tative tests  have  been  devised,  leading  to  the 
making  for  a  given  case  of  a  'talent-chart.' 
Special  apparatus  employed  includes  in- 
ventions like  the  audiometer,  the  tonoscope, 
the  spark-chronoscope,  a  serial-action  ap- 
paratus and  a  chronograph.  Some  tests 
have  been  made  into  phonograph-form  for 
school-use.  The  purpose  throughout  has 
been  not  only  scientific,  but  also  to  give  help 
in  choosing  a  musical  vocation  and  in  over- 
coming technical  difficulties.  He  has  pub- 
lished The  Psychology  of  Musical  Talent,  1917, 
and  a  long  series  of  articles  in  various  peri- 
odicals, like  'The  Musical  Quarterly,'  'The 
Etude,'  and  the  Proceedings  of  the  M.  T.  N.  A., 
1913,  '15,  and  as  monographs  in  the  University 
of  Iowa  Studies  in  Psychology.     [  R.8  ] 

SEATTLE  SYMPHONY  ORCHESTRA, 
THE,  was  founded  in  1907.  Its  conductor 
till  1909  was  Michael  Kegrize,  followed  by 
Henry  K.  Hadley  in  1909-11.  In  1911  its 
place  was  taken  by  the  new  Philharmonic 
Orchestra,  led  by  John  Spargur,  which  in  1919 
secured  a  guaranty  for  three  years  that  will 
enable  it  to  resume  concerts  of  the  first  order. 


SEEBOECK,  WILLIAM  CHARLES 
ERNEST  (Aug.  21,  1859,  Vienna,  Austria 
:  1907,  Chicago),  after  early  instruction 
from  his  mother,  a  pupil  of  Marchesi,  began 
piano-study  at  ten  with  Graedener,  going 
on  later  with  Epstein  and  Grill,  and  taking 
theory  with  Nottebohm.  Meanwhile  he  had 
collegiate  education  at  the  Theresianum.  In 
1875  he  studied  with  Brahms,  and  in  1877-79 
was  in  Petrograd,  with  Rubinstein  for  adviser. 
In  1881  he  settled  in  Chicago  as  pianist, 
teacher  and  composer.  For  a  time  he  taught 
harmony  at  the  Chicago  Musical  College  and 
was  organist  at  the  Jefferson  Park  Presby- 
terian Church.  His  published  compositions 
are  mostly  songs  and  piano-pieces,  but  he  left 
also  two  operas,  'The  Gladiators'  and  'The 
Missing  Link,'  a  piano-quintet,  two  concertos 
and  two  sonatas  for  piano,  variations  for  two 
pianos,  27  concert-etudea  for  piano,  and  over 
200  songs.     [  R.7  ] 

SEEGER,  CHARLES  LOUIS,  Jb.  (Dec. 
14,  1886,  Mexico  City),  graduated  from 
Harvard  in  1908,  having  specialized  in  music. 
In  1910-11  he  volunteered  as  conductor  at 
the  Cologne  Opera.  Since  1912  he  has  been 
professor  of  music  at  the  University  of  Cali- 
fornia. Recently  he  has  made  special  studies 
in  musicology  and  musicological  methods. 
He  has  composed  two  masques  for  orchestra. 
'Dedra'  (1914)  and  'The  Queen's  Masque' 
(1915),  and  an  overture  for  full  orchestra 
after  Yeats'  'Shadowy  Waters.'  He  has  also 
composed  chamber-music,  a  violin-sonata 
and  about  25  songs  (some  Schirmer).  With 
E.  G.  Stricklen  he  has  published  Outline  of 
a  Course  in  Harmonic  Structure  and  Musical 
Invention,  1913,  and  Harmonic  Structure  and 
Elementary  Composition,  1916.     [  R.IO  ] 

SEGUIN,  ARTHUR  EDWARD  SHEL- 
DON (1809-1852)  and  ANN,  nee  Childe 
(1814-1888).     See  Vol.  iv.  408,  and  Register,  3. 

SEIDL,  ANTON  (May  7,  1850,  Pest, 
Hungary  :  Mar.  28,  1898,  New  York). 
See  article  in  Vol.  iv.  408.  He  was  brought 
to  America,  after  the  death  of  Leopold  Dam- 
rosch,  to  conduct  German  opera  at  the  Metro- 
politan Opera  House,  and  made  his  debut  with 
'Lohengrin'  on  Nov.  23,  1885.  During  his 
career  at  the  Metropolitan  he  conducted  the 
first  performance  in  America  of  '  Die  Meister- 
singer'  (Jan.  4,  1886),  'Tristan  und  Isolde' 
(Dec.  1,  1886),  'Siegfried'  (Nov.  9,  1887), 
'Die  Gotterdammerung'  (Jan.  25,  1888), 
'Das  Rheingold'  (Jan.  4,  1889),  and  the  'Ring,' 
complete  (Mar.  4-11,  1889).  Except  in  1892- 
95,  when  German  opera  was  temporarily 
eclipsed,  he  conducted  at  the  Metropolitan 
tUl  his  death.  In  1891,  also,  he  succeeded 
Thomas  as  conductor  of  the  New  York  Phil- 
harmonic Society,  a  position  also  retained  to 
the    end.     He    introduced    many    works    by 


SEILER 


SEWALL 


359 


modern  composers,  and  conducted  the  pre- 
miere of  Dvorak's  'New  World'  Symphony  in 
1893.  See  Krehbiel,  Anton  Seidl,  1898,  and  An- 
ton Seidl,  Memorial  by  His  Friends,  1899.    [R.7  ] 

SEILER,  EMMA    (1821-  ?  ).      See   Regis- 
ter, 5. 

SEIPLE,  STANLEY  J.     See  Colleges,  3 
(ThielC.Pa.). 

SELBY,  WILLL4M  (1738,  England  : 
1798,  Boston),  came  to  Boston  about  1771. 
He  had  been  an  organist  in  England  since 
1767  and  was  also  an  excellent  harpsichordist. 
In  1774  he  became  organist  at  Trinity  Church 
in  Newport,  R.  I.,  but  by  Easter,  1777,  was 
established  at  King's  Chapel  in  Boston, 
where  he  apparently  remained  till  his  death. 
Besides  conducting  a  shop  for  the  sale  of 
groceries  and  liquor,  he  was  much  in  evidence 
as  player,  teacher  and  concert-manager,  from 
about  1782  also  as  composer.  At  some  of 
his  concerts  extracts  from  Handel's  oratorios 
were  sung  by  the  Musical  Society,  of  which 
he  was  promoter,  if  not  conductor.  His 
programs  show  remarkable  knowledge  and 
enterprise.  His  own  works  included  songs, 
anthems  and  instrumental  pieces,  among  them 
Voluntaries  or  Fugues  for  organ  or  harpsi- 
chord, a  Concerto  for  organ  or  harpsichord 
'with  instrumental  parts,'  a  Sonata  for  two 
violins  and  'cellos,  etc.  See  Sonneck,  Concert- 
Life  in  America,  with  his  remark  that  'Boston's 
musical  history  during  the  last  thirty  years  of 
the  18th  century  may  be  said  to  have  centered 
in  the  personality  of  this  interesting  and  am- 
bitious musician.'     [  R.l  ] 

SEMBRICH,  MARCELLA  (Feb.  15,  1858, 
Wisniewczyk,  Galicia).  See  article  in  Vol. 
iv.  409-10.  Her  first  American  appearance 
was  as  Lucia  at  the  Metropolitan  Opera  House 
on  Oct.  24,  1883.  At  Abbey's  benefit  at  the 
end  of  the  season  she  played  a  violin-concerto 
of  De  B6riot,  with  a  Chopin  nocturne  and  then 
an  aria  from  'La  Sonnambula'  for  encores, 
besides  taking  the  violin-obbligato  in  the 
Bach-Gounod  'Ave  Maria,'  sung  by  Nilsson. 
In  1897  she  came  again  for  a  concert- tour, 
and  sang  at  the  Metropolitan  for  the  next 
two  seasons  and,  after  another  season  of 
concerts,  from  1901  till  her  retirement  in  1909. 
At  her  farewell  (Feb.  6,  1909)  she  appeared 
in  three  of  her  famous  roles,  Norina  in  'Don 
Pasquale,'  Rosina  in  the  'Barbiere'  and 
Susanna  in  'Figaro's  Hochzeit'  —  the  last 
in  German,  Mahler  conducting.  Among  the 
many  tributes  were  a  string  of  pearls  bought 
by  popular  subscription  and  presented  by 
Mayor  Low,  and  a  punch-bowl  from  the 
directors  (who  made  her  the  first  honorary 
member  of  the  Opera  House  Company),  and 
there  was  a  ball  at  the  Savoy  and  a  dinner 
from  the  musicians  of  the  city.  A  day  or 
two  later  she  left  for  London  and  a  concert- 


trip  in  Russia,  returning  from  which  in  1910 
she  bade  farewell  to  the  stage  in  Berlin,  Frank- 
fort and  other  German  cities.  In  1910-11 
she  was  still  active  in  concert  and  song-recitals 
on  both  sides  of  the  ocean,  settling  in  Lausanne 
and  Nice.  When  the  war  broke  out  she  was 
in  Switzerland.  In  October,  1914,  she  re- 
sumed song-recitals  in  New  York,  but  her  work 
as  head  of  the  American  Polish  Relief  so 
exhausted  her  that  at  the  opening  of  1917 
she  permanently  retired.  She  had  just  begun 
a  series  of  historical  recitals  that  had  been 
planned  to  be  her  closing  public  act.  Her 
husband  died  in  May,  1917.  She  makes  her 
home  at  present  in  New  York.  Of  her  emi- 
nence as  a  song-singer  Henderson  has  said : 
'The  depth  of  expression  attained  by  her  in 
her  wonderful  song-recitals  is  due  to  a  com- 
bination of  perfect  tone  with  musical  in- 
telligence. Bigger  tone,  more  brilliancy  of 
style,  are  demanded  in  opera,  but  in  the 
interpretation  of  the  song  complete  revelation 
of  the  poetic  and  musical  content  of  the  work 
is  the  absolute  requirement.  This  Mme. 
Sembrich  has  been  able  to  supply.'     [  R.7  ] 

SEMMANN,   LIBORIUS    (b.    1873).     See 
Register,  8. 

SENKRAH  [Arma  Leoretta  Hoffmann, 
n6e  Harkness]  (1864r-1900).  See  Register,  7. 
SEVERN,  EDMUND  (Dec.  10,  1862,  Not- 
tingham, England),  had  his  training  as  vio- 
linist in  America,  studying  with  his  father, 
Franz  Milcke  and  Bernhard  Listemann,  and 
taking  singing  with  George  Sweet,  piano  with 
T.  Oelschleger  and  composition  with  Chad- 
wick.  In  1888-90  he  was  in  Berlin  under 
Wirth  for  violin  and  Ph.  Scharwenka  for 
composition.  He  began  teaching  at  Hart- 
ford, Conn.,  and  Springfield,  Mass.,  and  for 
some  years  led  chamber-groups  and  conducted 
choral  societies.  He  moved  to  New  York  in 
1897,  where  in  1907-14  he  gave  lectures  for 
the  Board  of  Education,  but  has  lately  con- 
fined himself  to  teaching  and  composition. 
His  published  works  include  a  concerto,  four 
suites  and  about  25  pieces  for  violin  and  piano, 
a  suite  for  two  violins  and  piano,  the  concert- 
waltz  '  La  Brunette '  and  a  '  Gavotte  Moderne ' 
for  orchestra,  about  20  songs,  pieces  for  'cello 
and  for  piano,  36  teaching-pieces  for  violin 
and  The  Griln  Modern  Method  for  Violin. 
He  has  also  two  string-quartets,  a  violin-sonata, 
a  piano-trio,  an  'Oriental'  Suite  for  violin 
and  piano,  the  cantata  '  Jephtha's  Daughter,' 
and,  for  orchestra,  a  Festival  Overture,  a 
Polonaise  in  D,  the  symphonic  poems  'Lance- 
lot and  Elaine'  and  'Life,  Death,  Reunion' 
and  a  fantasy  on  'The  Tempest.'  Most  of 
these  last  have  been  publicly  performed. 
[R.8  1 

SEWALL,  MAUD  GILCHRIST  (b.  1872). 
See  Register,  8. 


3G0 


SEWARD 


SHATTUCK 


SEWARD,  THEODORE  FRELING- 
HUYSEN  (1835-1902).     See  Register,  5. 

SEYDEL,  IRMA  (Sept.  27,  1S9G,  Boston), 
the  daughter  of  a  violinist  in  the  Boston 
Symphony  Orchestra,  was  trained  by  him, 
Strube,  Loeffler  and  Maquarre  in  Boston. 
When  but  nine  she  twice  appeared  with  a 
group  of  players  from  the  Orchestra,  and  at 
thirteen  played  as  solo-violinist  with  the 
Giirzenich  Orchestra  in  Cologne,  once  under 
Steinbach.  Between  1912  and  1918  she  ap- 
peared seven  times  with  the  Boston  Sym- 
phony Orchestra,  and  also  had  engagements 
with  many  other  leading  symphony  orches- 
tras and  in  various  German  cities.     [  R.IO  ] 

SEYMOUR,  LEWIS  and  THADDEUS. 
See  Tune-Books,  1804. 

tSGAMBATI,  GIOVANNI  (May  18,  1843, 
Rome,  Italy  :  Dec.  14,  1914,  Rome).  See 
article  in  Vol.  iv.  431-3.  For  a  bibUography, 
see  Baker,  Diet,  of  Musicians,  p.  869. 

SHACKLEY,  FREDERICK  NEWELL 
(b.  1868).     See  Register,  7. 

'SHANEWIS.'  An  opera  by  Charles  W. 
Cadman,  produced  at  the  Metropolitan  Opera 
House  on  Mar.  23,  1918.  The  text  is  by  Mrs. 
Nellie  R.  Eberhard. 

SHAPLEIGH,  BERTRAM  (Jan.  15,  1871, 
Boston),  early  took  up  piano  and  'cello 
along  with  other  studies,  and  had  lessons  in 
composition  from  Whiting,  Chadwick  and 
MacDowell.  At  first  he  wag  engaged  upon 
literature,  but  also  took  a  medical  degree  and 
lectured  on  art-topics.  His  interest  in  the 
music  of  the  Orient  led  to  his  concentrating 
upon  musical  work.  In  1898  he  built  a 
house  in  Kent,  England,  and  cultivated  a 
considerable  estate.  In  1915,  however,  the 
house  was  burnt,  including  his  large  library 
and  valuable  scores,  etc.,  and  he  returned  to 
America.  His  published  works  include  the 
orchestral  suite  'Rdmdyana,'  op.  45,  based 
upon  five  episodes  in  the  Hindu  epic  (over 
60  performances  in  the  first  two  years) ;  the 
orchestral  suite  'Gur  Amir,'  op.  51,  being 
four  visions  from  the  tomb  of  Tamerlane ; 
the  tone-poem  '  Mirage,'  op.  57,  for  chorus 
and  orchestra ;  a  setting  of  Foe's  'The  Raven,' 
op.  50,  for  chorus  and  orchestra  (1908,  Middles- 
brough Festival) ;  '  The  Dance  of  the  Der- 
vishes,' op.  53  (Wolverhampton  Festival) ; 
the  8-part  choral  works  'The  Fir-Tree  and 
the  Brook'  (a  cappella),  op.  54,  'The  Tale  of 
the  Dismal  Swamp,'  op.  55,  and  '  Vedic  Hymn,' 
op.  56  (all  London  Choral  Society) ;  the  cycle 
for  solo  and  small  chorus,  'Romance  of  the 
Year,'  op.  53 ;  more  than  100  songs,  many  of 
which  are  on  Oriental  themes ;  and  many 
pieces  for  violin  or  'cello  and  piano,  or  for 
piano  alone.  Unpublished  are  two  sym- 
phonies, in  B  minor  and  A,  opp.  62,  68;  a 
Symphonic    Prelude,    op.    61;     three    'Con- 


solations,' op.  64,  for  orchestra;  a  'Poem,' 
op.  65,  for  'cello  and  orchestra;  a  string- 
quartet  in  G,  op.  70 ;  a  piano-trio  in  E  minor, 
op.  70 ;  a  Grand  Mass  in  D,  and  various 
other  settings  for  the  Catholic  service;  a 
cantata  based  on  the  Song  of  Solomon ; 
and  five  one-act  operas  and  two  grand  operas. 
His  wife,  nee  Mabelle  Carpenter,  has  supplied 
texts  for  many  of  his  works.  For  some  years 
he  was  musical  adviser  for  Breitkopf  &  Hiirtel, 
and  also  edited  'The  Concert-Program  Ex- 
change.' He  has  published  two  volumes  of 
poetry  and  many  articles  on  art-topics.    [  R.8  ] 

SHARLAND,  JOHN  B.  (1837-1909).  See 
Register,  4. 

t  SHARP,  CECIL  JAMES  (Nov.  22,  1859, 
London,  England),  after  graduating  from 
Cambridge  in  1882,  spent  nine  years  in  Ade- 
laide, till  1889  as  associate  to  the  Chief  Justice 
of  South  Australia,  then  as  conductor  of  the 
Philharmonic  Society  and  organist  at  the 
Cathedral.  Since  returning  to  England  in 
1892  he  has  been  mainly  occupied  with  music. 
In  1896-1905  he  was  principal  of  the  Hamp- 
stead  Conservatory  in  London,  and  since 
1911  has  been  director  of  the  English  Folk- 
Dance  Society  and  The  Stratford-on-Avon 
School  of  Folk-Song  and  Dance.  He  has 
devoted  himself  to  collecting  and  investigating 
folk-music,  and  in  the  pursuit  of  the  subject 
has  visited  America.  His  English  Folk-Songs 
from  the  Southern  Appalachians  (collected 
in  part  by  Olive  Dame  Campbell),  1917, 
contains  nearly  500  songs,  ballads  and  tunes 
from  this  region.  He  is  also  author  of  English 
Folk-Song  —  Some  Conclusions,  1907,  Folk- 
Dancing  in  Schools,  1913,  and  Folk-Singing 
in  Schools,  1914.  He  has  edited  a  Book  of 
British  Song,  1902,  Folk-Songs  from  Somerset 
(with  C.  L.  Marson),  5  series,  1904-09,  English 
Folk-Songs  for  Schools  (with  S.  Baring-Gould, 
1906,  Country-Dance  Tunes  (with  G.  Butter- 
worth),  8  parts,  1906-16  (including  The 
Country-Dance  Book,  separately  in  1906),  The 
Morris  Book  (with  George  Butterworth  and 
Herbert  Macllwaine),  5  parts,  1907-13  (in- 
cluding A  History  of  Morris  Dancing,  1907, 
rewritten,  1912),  English  Folk-Carols,  1911, 
The  Sword-Dances  of  Northern  England,  3 
parts,  1911,  English  Chanteys,  1914,  A  Mid- 
summer-Night's Dream  (songs,  dances  and 
incidental  music),  1914,  100  English  Folk- 
Songs,  1916,  Folk-Songs,  Chanteys  and  Singing- 
Games  (with  C.  H.  Farnsworth),  A  Collection  of 
Selected  Folk-Songs  (with  R.  V.  Williams),  1918. 

SHATTUCK,  ARTHUR  (Apr.  19,  1881, 
Neenah,  Wis.),  began  piano-study  with  his 
mother  and  had  seven  years  with  Leschetizky 
before  1902.  In  1901  he  appeared  as  pianist 
with  the  Philharmonic  Orchestra  at  Copen- 
hagen. Until  1911  he  lived  in  Paris,  but 
made  many  concert-tours  throughout  Europe 


SHAW 


SHORT 


361 


and  even  to  Egypt  in  the  East  and  to  Iceland 
in  the  West.  In  1911-12  he  toured  in  America, 
appearing  in  New  York  with  the  Symphony 
Society.  In  1912-15  he  was  again  in  Europe. 
Since  then  he  has  concertized  in  the  United 
States,  often  with  leading  orchestras.  In 
March,  1917,  he  was  soloist  with  the  San 
Francisco  Orchestra  under  Hertz.     [  R.9  ] 

SHAW,  FRANK  HOLCOMB.  See  Col- 
leges, 3  (Cornell  C,  Iowa). 

SHAW,  OLIVER  (1779-1848).  See  Tune- 
Books,  1808. 

SHELDON,  E.  EDWIN.  See  Colleges, 
3-(Lebanon  Valley  C,  Pa.). 

SHELLEY,  HARRY  ROWE  (June  2, 
1858,  New  Haven,  Conn.),  began  organ- 
playing  at  the  Center  Church  in  New  Haven 
when  but  fourteen,  and  studied  with  Stoeckel 
at  Yale  College  and  later  with'^Buck,  Vogrich 
and  Dvordk  in  New  York.  In  1878-81  and 
1887-99  he  was  organist  at  the  Church  of 
the  Pilgrims  in  Brooklyn,  and  in  1881-87  at 
Plymouth  Church  there.  Since  1899  he  has 
been  at  the  Fifth  Avenue  Baptist  Church  in 
New  York,  and  also  on  the  teaching-staff 
of  the  Metropolitan  College  of  Music  and  the 
American  Institute  of  Applied  Music.  He 
has  written  two  symphonies  (No.  1,  in  E-flat, 
1897,  New  York) ;  a  violin-concerto  (1891) ;  a 
'Santa  Claus'  Overture;  the  orchestral  suite 
'Souvenir  de  Baden-Baden'  (published  for 
piano,  4  hands) ;  the  cantatas  '  The  Inher- 
itance Divine,'  'Vexilla  Regis'  (1894,  New 
York),  'Death  and  Life'  and  'Lochinvar's 
Ride'  (1915,  New  York) ;  a  Fantasia  for  piano 
and  orchestra ;  many  pieces  for  piano  and 
for  organ ;  and  numerous  songs  and  anthems, 
many  of  the  latter  extremely  effective.  He 
has  made  many  organ-transcriptions,  and 
issued  the  collections  The  Modern  Organist 
and  Gems  for  the  Organ.     [  R.6  ] 

SHEPARD,  ANNIE  AGNES,  n6e  Boll 
(b.  1859).     See  Register,  7. 

SHEPARD,  CLARENCE  E.  See  Col- 
LEGES,^3  (Carroll  C,  Wis.). 

SHEPARD,  FRANK  HARTSON  (1863- 
1913).     See  Register,  7. 

SHEPARD,  THOMAS  GRIFFIN  (1848- 
1905).     See  Register,  5. 

SHEPHERD,  ARTHUR  (Feb.  19,  1880, 
Paris,  Ida.),  in  1892-94  studied  at  the  New 
England  Conservatory  in  Boston  with  Dennee 
and  Faelten  (piano)  and  Goetschius  and  Chad- 
wick  (composition).  From  1897  he  taught 
in  Salt  Lake  City,  led  a  theater-orchestra 
and  also  the  Symphony  Orchestra.  Since 
1908  he  has  taught  harmony  and  counter- 
point at  the  New  England  Conservatory. 
For  three  seasons  he  conducted  the  Musical 
Art  Society,  and  in  1917  became  conductor 
of  the  Cecilia  Society,  succeeding  Clifton. 
His  compositions  include  an  'Ouverture  Joy- 


euse,'  op.  3  (Paderewski  prize,  1902,  given 
by  the  New  York  Symphony  Society,  1905) ; 
two  other  overtures,  'The  Festival  of  Youth' 
(1915,  St.  Louis  Orchestra)  and  'The  Nup- 
tials of  Attila';  an  orchestral  suite,  op.  5; 
a  Humoreske  for  piano  and  orchestra;  a 
Sonata  in  F  minor,  op.  4,  for  piano  (Nat. 
Federation  of  Musical  Clubs  prize,  1909) 
(Boston  Music  Co.)  ;  'Song  of  the  Sea- Wind,' 
for  women's  voices  and  orchestra;  'The 
City  of  the  Sea,'  for  baritone,  chorus  and 
orchestra,  poem  by  Carman  (1913,  Chicago) 
(Schirmer)  ;  the  motet  'The  Lord  has  brought 
again  Zion'  (Ditson) ;  the  part-song  for 
women's  voices  'He  came  all  so  still' 
(Schmidt) ;  and  some  piano-pieces  and  songs 
(Wa-Wan  Press).     [  R.8  ] 

SHERWOOD,  WILLIAM  HALL  (Jan.  31, 
1854,  Lyons,  N.  Y.  :  Jan.  7,  1911,  Chicago), 
was  the  son  of  Rev.  L.  H.  Sherwood,  the 
founder  of  the  Lyons  Musical  Academy.  He 
played  frequently  in  public  from  his  ninth 
year.  In  1866-71  he  taught  in  his  father's 
school  and  secured  a  general  education.  After 
some  lessons  from  William  Mason  in  1871 
he  went  to  Berlin,  where  he  studied  piano  with 
Kullak  and  theory  with  Weitzmann.  He 
later  took  composition  with  Doppler,  piano 
with  Deppe,  counterpoint  and  composition 
with  Richter,  and  finally  piano  with  Liszt 
at  Weimar.  He  gave  successful  concerts  in 
Berlin  and  Hamburg,  and  returned  to  America 
in  1876.  Concerts  in  New  York,  Boston, 
Philadelphia  (including  the  Centennial  Ex- 
hibition, with  the  Thomas  Orchestra),  Cincin- 
nati and  Chicago  soon  established  his  repu- 
tation as  a  virtuoso.  He  settled  in  Boston 
as  a  member  of  the  New  England  Conservatory 
faculty,  and  numbered  Arthur  Whiting  and 
Clayton  Johns  among  his  pupils.  After  a 
few  years  he  forsook  Boston  for  New  York, 
and  from  1889  made  his  home  in  Chicago. 
For  eight  years  he  was  head  of  the  piano- 
department  of  the  Chicago  Conservatory, 
but  in  1897  withdrew  to  establish  the  Sher- 
wood Piano  School.  A  brilliant  and  popular 
pianist,  he  played  with  all  the  leading  or- 
chestras and  gave  recitals  in  every  part  of 
the  United  States  and  Canada.  His  services 
as  a  teacher  were  in  great  demand.  Not 
strongly  tempted  by  composition,  he  is 
represented  only  by  a  group  of  piano-pieces, 
a  'Scherzo  Caprice,'  op.  9,  two  suites,  opp. 
5  and  14,  two  sets  of  'Gypsy  Dances,'  opp.  10 
and  40,  a  'Scherzo  Symphonique,'  an  'Allegro 
Patetico'  and  'Medea.'     [  R.6  ] 

SHIELDS,  T.  EDGAR.  See  Colleges, 
2  (Moravian  C,  Pa.). 

SHIRLEY,  H.  A.  (b.  1865).  See  Colleges, 
2  (Salem  C,  N.  C). 

SHORT,  LAURA  GRANT.  See  Colleges, 
2  (Rockford  C,  111.). 


362 


SHUMWAY 


SKILTON 


SHUMWAY,  NEHEMIAH.  See  Tune- 
Books,  1793. 

i  SIBELIUS,  JEAN  (Dec.  8,  1865,  Tavas- 
tehus,  Finland).  See  article  in  Vol.  iv.  447-8. 
His  annual  grant  of  3000  marks  from  the 
Finnish  Government  ran  from  1897  to  1907. 
In  1900  he  toured  in  Scandinavia,  Germany, 
France  and  Belgium  with  the  Helsingfors 
Philharmonic  Orchestra,  conducting  his  own 
works.  In  1914  he  came  to  America  to  pro- 
duce his  symphonic  poem  'Daughters  of  the 
Ocean'  at  the  Norfolk  Festival,  and  was  then 
made  Mus.D.  by  Yale  University.  To  the 
list  of  works  add  the  following : 

op.  19     Melodrama,  'The  Wood-Nymph.' 
25     Suite  in  E-flat,  for  orchestra. 
35,  50,  57,  60,  61     Songs. 
42     Romanze  in  C,  for  strings. 
58,  67,  68     Piano-Pieces. 
48     Choral  Ballad,  'Die  gefangene  Konigin.' 
52     Symphony  No.  3,  in  C. 

54  Suite  for  small  orchestra,  from  music  to 

'Svanehvit.' 

55  Symphonic  Poem,  'Nachtlicher  Ritt  und 

Sonnenaufgang.' 

56  String-Quartet    in    D    minor,    'Voces    In- 

timse.' 
59     Funeral  March,  'In   Memoriam,'  for  or- 
chestra. 

62  Canzonetta  for  strings,  and  '  Valse  Roman- 

tique,'  for  small  orchestra. 

63  Symphony  No.  4,  in  A  minor. 

64  Symphonic  Poem,  '  Der  Barde.' 

69  Two  Serenades  for  violin  and  orchestra. 

70  Symphonic   Poem,  'Luonnotar,'  with   so- 

prano solo. 

71  Pantomime,  '  Scaramouche,'  in  two  acts. 

72  Symphonic     Poem,     'Daughters    of     the 

Ocean'  (1914,  Norfolk  Festival). 
Also,  the  first  Finnish  opera,  'The  Maid  in  the 
Tower'  (1896,  Helsingfors) ;  Symphony  No.  5  (1916) ; 
'The  Old  Man,'  for  baritone  and  men's  chorus; 
Overtures  in  E  and  A  minor;  a  string-quintet  in 
G  minor;  two  string-quartets,  in  A  minor  and 
B-flat ;  variations  in  E-flat  minor  for  string-quartet ; 
and  a  string-trio  in  A. 

SILBER,  SIDNEY  (b.  1881).  See  Register, 
9. 

SILBY,  REGINALD  MILLS  (b.  1884). 
See  Colleges,  1  (Catholic  U.,  D.  C). 

SIMPSON,  GEORGE  ELLIOTT  (b.  1876). 

SINFONIA  FRATERNITY  OF  AMER- 
ICA, THE,  was  founded  in  1898  by  Ossian 
E.  Mills  to  unite  music-students  in  conserva- 
tories in  a  society  of  mutual  benefit.  It  now 
has  twelve  chapters  in  various  parts  of  the 
country,  including  several  hundred  members. 
The  president  since  1915  is  F.  Otis  Drayton 
and  the  national  headquarters  is  at  the  New 
England  Conservatory  in  Boston. 

SINGENBERGER,  JOHN  B.  (b.  1848).  See 
Register,  6. 

SINGER,  JACOB.  See  State  Univer- 
sities (Neb.). 

SINGER,  OTTO  (July  26,  1833,  Sora, 
Germany     :     Jan.  3,  1894,  New  York),  after 


general  education  at  the  Kreuzschule  in 
Dresden,  in  1851-55  was  at  the  Leipzig 
Conservatory  with  Richter,  Moscheles  and 
Hauptmann.  He  then  taught  in  Leipzig 
for  four  years,  and  during  this  period  a  sym- 
phony and  other  of  his  works  were  played  at 
the  Gewandhaus.  Next  he  went  to  Weimar 
(studying  with  Liszt),  to  Dresden,  and  in 
1867  to  New  York.  Here  he  taught  in  the 
Mason  and  Thomas  Conservatory  until  its 
dissolution  in  1873.  At  one  of  the  Thomas 
concerts  in  1869  he  played  his  piano-concerto. 
In  1873  he  went  to  Cincinnati  as  assistant- 
director  to  Thomas  and  continued  there  till 
1893,  teaching  piano  and  theory  from  1880 
in  the  College  of  Music.  For  the  Festival  of 
1876  he  wrote  the  cantata  '  The  Landing  of  the 
Pilgrim  Fathers,'  and  for  the'opening  of  Music 
Hall  in  1878  the  'Festival  Ode.'  A  successful 
chorus-leader,  he  trained  the  Festival  chorus 
for  some  years,  and  directed  several  festivals 
of  the  North  American  Siangerbund.  His 
'Symphonic  Fantasia'  was  performed  by  the 
Boston  Symphony  Orchestra  under  Gericke. 
Other  works  were  an  Andante  and  Variations 
for  two  pianos,  a  piano-sonata,  a  violin-sonata 
and  piano-pieces.     [  R.5  ] 

'SINGING-SCHOOLS.'  Popular  classes 
for  teaching  the  rudiments  of  music  and 
practicing  hymn-tunes  arose  in  New  England 
before  1750  in  consequence  of  the  movement 
to  introduce  singing  by  note  in  the  churches. 
They  soon  became  common,  not  simply  for 
the  sake  of  the  musical  instruction,  but  as 
a  form  of  social  gathering.  During  the  last 
half  of  the  century  they  were  much  promoted 
by  itinerant  singing-masters  who  gradually 
produced  a  long  list  of  tune-books  for  them 
(see  Tune-Books).  This  general  movement 
continued  far  into  the  19th  century  and  spread 
to  the  South  and  the  West.  In  many  cases 
it  led  to  the  holding  of  musical  'conventions,' 
and  to  a  small  degree  influenced  the  establish- 
ment of  music  in  the  public  schools  and  even 
of  permanent  music-schools.  See  Ritter, 
Music  in  America,  chaps,  ii-iv.,  Elson,  Hist, 
of  American  Music,  chaps,  i-ii.,  Gould,  Church 
Music  in  America,  etc.  The  Musical  Society 
of  Stoughton,  Mass.,  founded  in  1786  and 
still  existing,  grew  out  of  a  local  'singing- 
school,'  conducted  from  1774  by  Billings. 
SINGLETON,  ESTHER.  See  Register,  8. 
SINSHEIMER,  BERNARD  (b.  1870). 
See  Register,  7. 

SITES,  JOHN  R.  See  Colleges,  3  (Wil- 
lamette U.,  Ore.). 

SKILTON,  CHARLES  SANFORD  (Aug. 
16,  1868,  Northampton,  Mass.),  was  educated 
at  the  Northampton  High  School  and  Yale, 
graduating  in  1889.  In  that  year  he  wrote 
music  for  the  choral  odes  of  'Electra'  for 
performance    in     Greek    at    Smith    College. 


SKINNER 


SMITH 


363 


After  teaching  languages  in  Newburgh,  N.  Y., 
in  1891  he  went  to  Berlin  for  study  with 
Bargiel,  Boise  and  Heintz.  In  1893-96  he 
was  music-master  at  Salem  Academy  in  North 
Carolina.  He  then  studied  further  in  New 
York  with  Buck  and  Shelley.  In  1897  his 
violin-sonata  in  G  minor  was  given  a  prize 
by  the  M.  T.  N.  A.  and  performed  by  Dora 
Becker.  In  1897-1903  he  taught  piano  and 
theory  at  the  State  Normal  School  in  Trenton, 
N.  J.,  and  then  went  to  the  University  of 
Kansas  at  Lawrence,  where  he  has  been 
professor  ever  since.  For  twelve  years  he 
was  also  dean  of  Fine  Arts,  and  he  has  been 
active  as  organizer  and  conductor.  He  is 
a  fellow  of  the  A.  G.  O.  and  has  been  dean  of 
the  Kansas  Chapter,  and  is  prominent  in  several 
teachers'  associations,  besides  giving  lectures 
and  recitals.  The  fact  that  Haskell  Institute, 
a  government  school  for  Indians,  is  near 
Lawrence  led  to  his  studying  and  collecting 
Indian  music.  In  1916  his  'Two  Indian 
Dances,'  originally  written  for  a  student- 
opera,  were  arranged  for  string-quartet  and 
widely  introduced  by  the  Zoellner  Quartet. 
As  scored  for  orchestra  they  were  also  taken 
up  by  various  orchestras,  including  the 
Queen's  Hall  Orchestra  of  London.  In  an 
organ-fantasy  and  sonata  (1916)  he  has  made 
some  use  of  the  whole-tone  scale,  and  in  his 
cantata  'The  Witch's  Daughter'  (1917)  he 
has  given  a  serious  musical  treatment  of  the 
Salem  Witchcraft,  employing  various  modern 
devices.  Besides  the  works  named  above 
he  has  a  'cello-sonata  (1893),  the  cantata 
'The  Ballad  of  Carmilhan,'  a  Theme  and 
Variations  in  E  minor,  for  piano  (1904), 
a  Melody  in  B-flat,  for  organ  (1913),  besides 
other  organ-pieces,  'Three  Indian  Scenes,' 
for  string-quartet  (1918),  and  'Three  Indian 
Sketches,'  for  piano  (1919,  Carl  Fischer). 
He  has  also  written  a  number  of  songs  and 
choruses.  His  'Witch's  Daughter'  was  given 
in  1919  by  the  Pageant  Choral  Society  and 
the  Symphony  Orchestra  of  St.  Louis.     [  11.8  ] 

SKINNER,  ERNEST  M.,  &  COMPANY, 
of  Boston,  was  organized  in  1901  to  employ 
the  skill  and  genius  of  Ernest  M.  Skinner 
in  organ-making.  Under  this  or  similar 
names  it  has  continued  to  produce  a  highly 
significant  series  of  instruments,  many  of 
the  largest  size,  for  important  churches  and 
institutions  throughout  the  country,  making 
a  fine  reputation  for  original  and  distinctive 
voicing,  as  well  as  for  first-class  construction. 
They  have  recently  put  forth  an  'Orchestrator' 
which  is  adapted  to  the  use  of  music-rolls 
with  special  success. 

SKINNER.  THOMAS.  See  Tune-Bookb, 
1800. 

SKINNER,  T.  STANLEY,  See  Col- 
leges, 3  (Drury  C,  Mo.). 


SKOVGAARD,  AXEL  (b.  1875).  See 
Register,  9. 

SLAVE-SONGS.     See  Negro  Music. 

SLEEPER,  HENRY  DIKE  (Oct.  9,  1865, 
Patten,  Me.),  had  his  general  education  at 
the  Worcester  Academy  and  Harvard  College, 
and  graduated  from  the  Hartford  Theological 
Seminary  in  1891,  with  some  post-graduate 
study.  He  took  harmony  and  composition 
with  B.  D.  Allen  and  Paine,  organ  with  Ham- 
mond and  Eddy,  and  singing  with  E.  N. 
Anderson,  F.  W.  Root  and  George  Thorpe 
(London).  After  teaching  at  Beloit  College 
in  1892-94,  at  Georgetown  College  in  Ken- 
tucky in  1894-95,  and  at  the  University  of 
Wisconsin  in  1895-98,  he  went  to  Smith 
College  in  Massachusetts,  where  in  1904  he 
became  head  of  the  music-department,  which 
under  his  hand  has  attained  large  proportions. 
He  has  also  been  church-organist  in  Worcester, 
Mass.,  Madison,  Wis.,  and  Hartford,  Conn., 
and  is  a  fellow  of  the  A.  G.  0.  He  has  always 
been  eSicient  in  promoting  church-music, 
speaking  and  writing  much  on  its  behalf. 
In  advancing  the  cause  of  academic  credit 
for  music-study  he  has  also  been  increasingly 
active.  He  has  written  an  orchestral  Lar- 
ghetto  (given  in  popular  concerts  of  the  Boston 
Symphony  Orchestra),  an  organ-suite  in  F 
minor,  a  choral  'Carmen  Sseculare'  (1904, 
Smith  College),  part-songs  and  songs,  and  has 
edited  (in  part)  The  Common  Order  Choir- 
Book,  1903,  and  the  College  Edition  of  Hymns 
of  Worship  and  Service,  1909.  While  in  college 
he  edited  Songs  of  Harvard,  1886,  which  was 
the  first  distinctively  Harvard  collection. 
[R.8] 

'SLEEPY  HOLLOW.'  A  three-act  opera 
by  Max  Maretzek,  produced  in  1879  at  the 
Academy  of  Music  in  New  York. 

SMITH,  DAVID  STANLEY  (July  6,  1877, 
Toledo,  O.),  had  academic  training  at  the 
Toledo  High  School  and  Yale  University, 
where  he  graduated  in  1900,  having  had  courses 
in  composition  with  Parker.  His  first  work 
in  large  form  was  an  Overture  in  E-flat,  op. 
1,  which  was  played  at  a  students'  concert 
in  1898.  On  graduating,  his  'Ode  for  Com- 
mencement-Day,' op.  4,  was  given  with 
baritone,  men's  chorus  and  orchestra.  After 
a  year  at  Yale  as  a  post-graduate,  he  spent 
a  year  or  more  in  London,  Munich  and  Paris. 
In  1903  he  received  a  Mus.B.  from  Yale, 
submitting  as  thesis  a  Prelude,  Choral  and 
Fugue  for  organ  and  orchestra,  op.  10.  In 
1903  he  began  as  instructor  in  the  Yale  School 
of  Music,  becoming  assistant-professor  in 
1909,  full  professor  in  1916,  and  in  1920 
succeeding  Parker  as  head  of  the  School. 
In  1912  he  had  taken  Parker's  place  as  teacher 
and  conductor  of  both  the  Symphony  Or- 
chestra and   the   Oratorio   Society.     In   1914 


364 


SMITH 


SMITH  COLLEGE 


he  gave  lectures  on  music-history  at  the 
summer-session  of  the  University  of  Cali- 
fornia. For  many  years  he  was  also  organist 
in  New  Haven  churches,  retiring  in  191G, 
and  since  1918  he  has  led  the  Choral  Art  Club. 
He  is  a  fellow  of  the  A.  G.  O.,  a  member  of  the 
National  Institute  of  Arts  and  Letters,  and  in 
1918  Northwestern  University  made  him 
Mus.D.  The  list  of  his  more  important  com- 
positions is  as  follows : 

'Ouverture   Joyeuse,'   op.    11    (1904,   Boston   and 

New  Haven). 
Trio  in  G,  op.  16  (Adamowski  Trio,  Boston  and 

New  Haven,  and  1914,  Berkeley,  Cal.). 
'Allegro  Giocoso,'  op.  17  (New  Haven). 
Quartet  No.  1,  in  E  minor,  op.  19  (1912,    Kneisel 
Quartet,  Boston  and  elsewhere)  (parts,  Schirmer). 
Symphonic    Ballad,    op.    24,    for    orchestra    (St. 

Louis  Orchestra  and  New  Haven). 
'The  Fallen  Star,'  op.  26,  for  chorus  and  orchestra 

(Paderewski  prize,  1909). 
Symphony  No.  1,  in  F  minor,  op.  28  (1912,  Chicago 

Orchestra) . 
'The    Djinns,'    op.    30,    for   baritone,    chorus   and 

orchestra. 
Overture,  'Prince  Hal,'  op.  31  (1912,  New  Haven, 
1914,   New  York  Symphony  Society,   and  else- 
where) . 
An  American  opera  in  two  acts,  op.  36,  text  by  Lee 

Wilson  Dodd. 
Quartet  No.  2,  in  A,  op.  37  (1915,  Kneisel  Quartet, 
1918,  Flonzaley  Quartet),  lately  revised  as  op. 
376. 
'Rhapsody  of  St.  Bernard'  f  Jesu,  dulcis  memoria'], 
op.  38,  for  soli,  chorus,  semichorus  and  orchestra 
(1918,  Chicago  North  Shore  Festival). 
'Impressions,'  op.  40,  four  pieces  for  orchestra. 
Symphony   No.   2,    in   D,   op.   42    (1918,    Norfolk 
Festival,  and  New  York  Philharmonic  Society). 
Other  works  are  several  groups  of  songs,  such  as 
opp.   15,  18  and  39;    many  anthems  and  part- 
songs,  such  as  '  Pan,'  op.  32,  with  oboe  obbligato ; 
a  'Tragic  Prelude,'  op.  41,  for  violin  and  piano; 
a  Fantasy  for  piano  and  orchestra,  op.  43;   and 
a  'Sonata  Pastorale,'  op.  44,  for  oboe  and  piano. 

[  R.9  ] 

SMITH,  DE  LOSS.  See  State  Univer- 
sities (Mont.). 

SMITH,  DEXTER  (1839-1909).  See 
Register,  5. 

SMITH,  ELLA  MAY,  nee  Dunning  (b. 
1860).     See  Register,  7. 

SMITH,  GERRIT  (Dec.  11,  1859,  Hagcrs- 
town,  Md.  :  July  21,  1912,  Darien,  Conn.), 
studied  at  Hobart  College,  where  he  was  for 
two  years  organist,  going  thence  to  Stuttgart 
to  pursue  music  and  architecture.  From 
1877  he  studied  organ  with  S.  P.  Warren  and 
Eugene  Thayer  in  New  York,  and  piano  with 
Sherwood,  and,  after  a  short  term  as  organist 
in  Buffalo,  in  1880  was  in  Berlin  under  Haupt 
and  Rohde.  From  1885  till  his  death  he  was 
organist  of  the  South  (Reformed  Dutch) 
Church  in  New  York,  where  his  choir  and 
organ-recitals  became  noted.  He  also  taught 
theory  at  the  Master  School  in  Brooklyn 
and  for  many  years  was  music-director  at 
Union    Theological    Seminary.       He    was    a 


founder  of  both  the  Manuscript  Society  and 
the  A.  G.  O.,  first  president  of  the  one  and 
first  warden  of  the  other,  and  active  in  music- 
teachers'  associations..  His  chief  work  was 
the  cantata  'King  David,'  but  he  also  wrote 
various  anthems,  songs,  piano-pieces,  etc., 
and  edited  25  Song-Vignettes  for  children. 
[  R.6  ] 

SMITH,    IVY    MAY.     See    Colleges,    3 
(Atlantic  Christian  C,  N.  C). 
SMITH,  LEO  (b.  1881).     See  Register,  10. 
SMITH,  THOMAS  MAX  (b.  1874).     See 
Register,  9. 

SMITH,  WILLIAM.  See  Tune-Books, 
1798  and  1809. 

SMITH,  WILSON  GEORGE  (Aug.  19, 
1855,  Elyria,  O.),  from  1876  studied  with 
Singer  in  Cincinnati  and  from  1880  with 
Moszkowski,  Raif,  the  Scharwenkas,  Kullak 
and  Kiel  in  Berlin.  Since  1882  he  has  been 
teacher  and  composer  in  Cleveland,  from 
1902  acting  also  as  critic  for  the  'Press.' 
His  compositions  extend  to  op.  115,  including 
some  hundreds  of  pieces.  He  has  been 
specially  successful  with  technical  works  like 
'Five-Minute  Studies,'  op.  53,  'Chromatic 
Studies,'  op.  69,  'Thematic  Octave-Studies,' 
op.  68,  'Transposition-Studies,'  op.  70  (all 
Church),  and  'Eight-Measure  Studies,'  'Scale- 
Studies,'  'Preparatory  Studies'  (all  Presser). 
Many  of  his  songs  have  place  in  concert- 
programs,  and  he  has  been  active  in  arranging 
and  editing.  Recent  piano-works  are  '  Autumn 
Sketches,'  op.  103,  'At  the  Bal  Masque' 
(Fox),  and  'Pictures  of  Child-Life'  (Schirmer). 
[  R.7  ] 

SMITH  COLLEGE,  Northampton,  Mass., 
though  not  belonging  to  the  older  group  of 
women's  colleges,  has  for  some  years  been  the 
largest  of  them.  For  that  reason,  and  because 
emphasis  upon  music  as  an  essential  in  general 
education  was  given  from  its  foundation  in 
1875,  it  may  be  taken  as  an  advanced  type  of 
its  class.  The  development  of  its  musical 
department  has  been  almost  wholly  under  the 
lead  of  two  instructors,  Benjamin  C.  Blodgett 
(1878-1903)  and  Henry  Dike  Sleeper  (instruc- 
tor from  1898,  professor  since  1904).  The 
faculty  numbers  about  25.  About  450 
students  take  music-courses,  those  in  praxis 
including  piano,  voice,  organ,  violin,  harp, 
'cello  and  one  or  two  wind-instruments,  while 
those  in  theory  include  all  grades  of  com- 
position, a  variety  of  courses  in  appreciation 
and  analysis,  and  extensive  work  in  music- 
history.  The  students  in  theory-courses 
largely  predominate.  Since  the  College  offers 
so  large  a  public  within  itself,  demonstrative 
music  in  the  form  of  recitals  and  concerts 
has  been  developed  to  an  extraordinary 
degree,  including  many  symphonic  and 
chamber-concerts,  besides  numerous  solo  reel- 


O.  G.  SONNECK 


SMYTH 


SOUSA 


365 


tals.  Work  in  music  is  credited  for  admission 
to  the  College,  and  towards  graduation,  just 
as  other  subjects.  In  praxis-courses  two 
lessons  per  week  with  five  hours  of  practice 
is  counted  for  two  hours'  credit.  In  choosing 
her  subjects  of  study  a  student  may  make 
music  her  'major'  or  one  of  her  'minors.' 
Graduate-study  in  music  is  also  encouraged. 
The  choir  of  about  125  and  the  orchestra  of 
40  are  important  forms  of  ensemble-work. 
There  is  a  considerable  music-library,  both  of 
books  about  music  and  of  musical  literature, 
and  the  department  owns  many  orchestral 
instruments,  besides  a  harpsichord,  a  cla-\n- 
chord,  a  pianola,  \'ictrolas,  etc.  There  are  two 
buildings  devoted  to  music-instruction.  Be- 
sides 55  pianos,  there  are  4  organs,  two  of  them 
of  large  size. 

t  SMYTH,  ETHEL  MAY  (Apr.  23,  1858, 
London,  England).  See  article  in  Vol.  iv. 
490-1.  The  four  songs  with  orchestra  were 
brought  out  at  Queen's  Hall  in  1907  and  often 
repeated  in  England,  Paris  and  Germany, 
as  also  the  chorus  'The  Spirits  of  the  Wood.' 
'The  Wreckers'  was  given  in  English  in  1909, 
at  the  Afternoon  Theater,  in  1910  at  Covent 
Garden,  and  in  1911  under  Beecham.  The 
two  overtures  to  it  are  often  given.  In  1910 
she  was  made  Mus.D.  by  Durham  University. 
Her  latest  opera,  'The  Boatswain's  Mate,' 
in  two  acts,  on  her  own  text  (from  Jacobs' 
story),  and  'The  Wreckers'  were  to  have  been 
given  in  Frankfort  and  Munich  respectively 
in  1915,  but  were  postponed  by  the  war  till 
1920.  She  was  a  prominent  suffrage  agitator 
in  1911  and  was  imprisoned  for  two  months 
in  consequence.  'The  March  of  the  Women' 
and  other  suffrage-music  date  from  this  time. 
During  the  war  she  was  in  radio-work  in 
France. 

SNYDER,  WILLIAM  B,  See  Tune- 
Books,  1831. 

SOCIETY  FOR  THE  PUBLICATION  OF 
AMERICAN  MUSIC,  THE,  was  organized 
in  New  York  in  1919  for  the  issue  of  meritori- 
ous works  and  their  distribution  among  its 
members  and  others.  Its  publishing-fund  is 
derived  from  annual  and  life  members.  The 
selection  of  works  is  by  a  committee  of  eminent 
experts.  At  first  attention  will  be  given  to 
chamber-music.  The  president  is  John  Alden 
Carpenter  and  the  secretary  William  B. 
Tuthill,  185  Madison  Avenue. 

SOHN,  JOSEPH  (b.  1867) .     See  Register,  8. 

SONNECK,  OSCAR  GEORGE  THEO- 
DORE (Oct.  6,  1873,  Jersey  City,  N.  J.),  was 
educated  in  Germany  at  the  Frankfort  Gym- 
nasium and  Heidelberg  and  Munich  Uni- 
versities (1893-97).  He  studied  music-history 
with  Sandberger,  composition  with  M.  E. 
Sachs,  conducting  at  the  Sondershausen 
Conservatory  (1898),  piano  with  Kwast  and 


instrumentation  with  Knorr.  In  1899  he 
was  in  Italy,  then  returning  to  America.  In 
1902-17  he  was  in  charge  of  the  Music- 
Division  of  the  Library  of  Congress  in  Wash- 
ington, where  he  transformed  what  had  been 
a  mere  accumulation  of  copyright-material 
into  one  of  the  great  music-libraries  of  the 
world,  extending  it  in  several  special  directions 
to  extraordinary  proportions.  Since  1917 
he  has  been  with  the  house  of  G.  Schirmer 
in  New  York,  for  whom  since  1915  he  has 
edited  'The  Musical  Quarterly.'  His  pub- 
lished compositions  are  several  sets  of  highly 
original  songs.  But  he  is  best  known  for  his 
many  and  valuable  books  upon  topics  in 
musical  history  and  criticism.  These  began 
as  far  back  as  1897,  when  he  issued  a  Protest 
gegen  den  Symbolismus  in  der  Musik,  but  the 
main  series  is  as  follows :  Classification  of 
Music  and  Literature  of  Music,  1904  (revised, 
1917),  Francis  Hopkinson  and  James  Lyon, 
1905,  Bibliography  of  Early  Secular  American 
Music,  1905,  Early  Concert-Life  in  America, 
1907,  Historical  Report  on  '  The  Star-Spangled 
Banner,'  'America,'  'Hail  Columbia'  and 
'  Yankee  Doodle,'  1909,  Critical  History  of  '  The 
Star-Spangled  Banner,'  1914,  Catalogue  of 
Opera-Librettos  Printed  before  1800,  2  vols., 
1914,  Early  Opera  in  America,  1915,  Catalogue 
of  First  Editions  of  Edward  MacDowell,  1917, 
Catalogue  of  First  Editions  of  Stephen  C.  Foster, 
1917,  and  Suum  Cuique  (essays),  1916.  To 
the  I.  M.  G.  Sammelbdnde  he  contributed 
important  studies,  among  them  'Francis 
Hopkinson,  the  First  American  Composer' 
(5.  119)  and  'Early  American  Operas'  (6.  428). 
He  has  also  published  two  volumes  of  poetry, 
Seufzer,  1895,  and  Eine  Todtenmesse,  1898. 
Besides  his  remarkable  skill  in  investigation 
and  the  marshaling  and  presentation  of  his- 
torical data,  he  has  shown  notable  enterprise 
and  practical  wisdom  in  promoting  musical 
progress  in  numerous  ways  —  as,  for  example, 
in  the  recent  formation  of  the  Society  for  the 
Publication  of  American  Music  and  in  further- 
ing the  issue  of  Krehbiel's  long-delayed 
translation  of  Thayer's  Beethoven.     [  R.8  ] 

'SONS  OF  BALDUR,  THE.'  No.  6  of 
the  'Grove-Plays'  of  the  San  Francisco  Bo- 
hemian Club,  produced  in  1908.  The  text 
is  by  Herman  Scheffauer  and  the  music  by 
Arthur  Weiss. 

SORRENTINO,  UMBERTO  (b.  1889). 
See  Register,  10. 

SOULE,  RALPH  W.  See  Colleges,  3 
(Tabor  C,  Iowa). 

SOUSA,  JOHN  PHILIP  (Nov.  6,  1854, 
Washington).  See  article  in  Vol.  iv.  628. 
His  father  was  Portuguese  and  his  mother 
Bavarian,  and  both  came  to  America  in  the 
early  '40s,  the  former  as  a  refugee  because  of 
revolutionary  activity,  the  latter  as  a  visitor. 


366 


SOUTHARD 


SPAETH 


They  were  married  in  Brooklyn,  but  soon 
moved  to  Washington.  The  son  studied  in 
1864-67  with  John  Esputa,  taking  mostly 
violin,  but  also  band-instruments,  and  from 
1,867,  while  playing  in  the  Marine  Band  and 
in  civilian  orchestras,  took  up  theory  and 
composition  with  G.  F.  Benkert.  From 
1B72  he  led  the  orchestra  at  the  Theatre 
Comique  and  played  violin  at  Ford's  Opera 
House.  From  1^74  he  was  leader  or  player 
in  the  Milton-Noble  Comedy  Company  and 
in  Morgan's  Living  Pictures  Company.  In 
1876  he  was  under  Offenbach  in  Philadelphia, 
writing  for  him  the  'International  Congress' 
fantasy  (July  4,  1S76).  In  1876-79  he  played 
at  the  Chestnut  Street  Theatre  under  Hassler 
and  at  the  Arch  Street  Theatre  under  Zimmer- 
man. He  then  became  conductor  of  the 
Church  Choir  Company,  writing  for  it  his 
first  comic  opera,  'The  Smugglers,'  and  of 
Mackey's  Comedy  Company,  for  which  he 
wrote  'Our  Flirtations.'  After  being  in  the 
Marine  Band  in  1880-92,  he  formed  the 
Sousa  Band,  giving  the  first  concert  at  Plain- 
field,  N.  J.,  on  Sept.  26,  1892.  With  this  he 
has  made  annual  tours  through  the  United 
States  and  Canada,  besides  four  tours  in 
Europe  and  one  round  the  world.  The  Band 
has  played  at  almost  all  the  great  Expositions, 
besides  long  engagements  at  various  places.  Its 
leader  acquired  the  soubriquet  of '  March  King' 
in  1885  from  a  foreign  journal.  He  has  also 
been  decorated  by  numerous  crowned  heads, 
academies  and  societies.  In  1917  he  became 
lieutenant  in  the  Naval  Reserve.  His  com- 
positions make  a  long  list,  including  10  comic 
operas,  8  'suites,'  the  scenic  'Sheridan's  Ride' 
and  the  symphonic  'Chariot-Race,'  almost  100 
marches,  about  20  dances,  about  50  songs, 
and  several  arrangements.     [  R.6  ] 

SOUTHARD,  LUCIEN  H.  (Feb.  4,  1827. 
Sharon,  Vt.  :  Jan.  10,  1881,  Augusta,  Ga.), 
studied  for  a  time  at  Trinity  College  in  Hart- 
ford, whence,  though  expected  to  follow  his 
father  as  physician,  in  1846  he  went  to  Boston 
in  quest  of  music.  In  1851-58  he  was  general 
supervisor  there  in  the  public  schools.  In 
1858-60  he  was  in  Norfolk,  Va.,  leaving  be- 
cause of  Northern  sympathies.  For  a  year 
he  played  an  organ  in  Hartford,  but  enlisted 
in  the  Civil  War  and  served  in  the  Army  of 
the  Potomac  as  cavalry  captain.  He  took 
part  in  many  battles,  was  wounded  early  in 
1865  and  was  then  honorably  discharged  and 
returned  to  Boston.  In  1868,  when  the 
Peabody  Institute  in  Baltimore  established 
its  Conservatory,  he  was  made  its  first  director 
and  the  organizer  of  its  orchestra,  laying 
foundations  on  which  from  1871  Hamerik 
built  with  more  experience  and  brilliance. 
From  1871  he  lived  once  more  in  Boston, 
moving  in  1875  to  Augusta.     Between  1850 


and  1870  he  was  steadily  active  in  composition. 
He  was  notably  successful  with  glees,  church- 
music  and  organ-pieces.  About  1855  he 
completed  the  opera  'The  Scarlet  Letter,' 
parts  of  which  were  sung  at  a  'convention' 
in  that  year.  The  score  of  this,  loaned  by 
his  wife  in  New  York,  was  lost.  In  January, 
1858,  another  opera,  'Omano'  (based  on 
Beckford's  'Vathek,'  Italian  text  by  Manetta), 
was  twice  given  in  Boston  in  concert-form, 
with  Lang  as  pianist  and  Adams  as  tenor. 
The  score  of  this  remained  in  his  wife's  hands. 
His  publications  included 

Collection  of  Organ  Voluntaries,  1849. 

School  Chimes,  1851;  Union  Glee  Book,  1852; 
Haydn  Collection  of  Church  Music,  1851 ;  Clas- 
sical Chorus  Book,  1853  —  all  edited  with  B. 
F.  Baker  —  The  Boquet,  1855,  edited  with  G.  W. 
Pratt ;  Vol.  iii.  of  The  Boston  Melodeon,  with 
E.  H.  Baker  (first  vols,  by  E.  L.  White,  1850) ; 
Lyra  Catholica  (masses,  hymns  and  motets), 
1866,  with  J.  H.  Willcox;  The  Offering,  1866. 

A  Course  in  Harmony,  320  pp.,  1855. 

Morning  and  Evening,  1865,  for  quartet-choirs. 

Two  masses  (1867). 

The  Standard  Singing  School,  1868,  a  vocal  method 
based  on  Garcia. 

'Ave  Maria'  (1867?),  Te  Deum  and  Jubilate 
(1868),  and  the  motets  'As  the  hart  pants,' 
'My  heart  doth  find'  and  'Praise  waiteth  for 
Thee'  (1872).i  [  R.4  ] 

SOUTHGATE,  CHARLES.  See  Tune- 
Books,  1800. 

SOWERBY,  LEO  (May  1,  1895,  Grand 
Rapids,  Mich.),  had  all  his  formal  training 
in  Chicago  under  A.  O.  Anderson.  He  has 
taught  theory  at  the  American  Conservatory, 
been  organist  at  the  South  Congregational 
Church  and  served  as  critic  for  the  'Inter- 
Ocean.'  In  1917  he  enlisted  in  the  Army  and 
was  made  band-master  of  the  Field  Artillery, 
with  rank  of  2nd  lieutenant.  He  first  came 
into  notice  as  composer  through  his  violin- 
concerto  in  1913  (all-American  concert, 
Chicago  Symphony  Orchestra  under  Gunn). 
His  works  include  the  overture  'Comes 
Autumn-Time'  (1918,  New  York  Symphony 
Society)  (Boston  Music  Co.) ;  the  orchestral 
suite  'Set  of  Four'  (1918,  Chicago  Symphony 
Orchestra) ;  the  orchestral  sketch  '  The  Sor- 
row of  Mydath';  the  orchestral  'Rhapsody 
on  British  Folk-Tunes' ;  a  Serenade  for  strings 
(Berkshire  Quartet) ;  a  piano-concerto  and 
a  'cello  concerto ;  sonatas  for  two  violins  and 
'cello,  for  violin  alone,  for  violin  and  piano, 
for  piano  and  for  organ ;  two  suites  for  violin 
and  piano ;  three  chorale-preludes  for  organ  ; 
choruses  a  cappella;    etc.     [  R.IO  ] 

SPAETH,  SIGMUND  (Apr.  10,  1885, 
Philadelphia) ,  the  son  of  parents  both  of  whom 
had  written  or  edited  Lutheran  church  music, 
graduated    from   Haverford    College   in    1905 

1  Data  for  this  notice  were  supplied  by  Mr.  N.  H. 
Allen,  of  Hartford. 


SPALDING 


SPICKER 


367 


and  in  1910  took  a  Ph.  D.  at  Princeton  Uni- 
versity, his  thesis  being  on  Milton's  Knowledge 
of  Music  (published  1914).  In  Philadelphia 
he  studied  piano  and  violin,  and  at  Princeton 
led  the  university  choir,  glee-club  and 
orchestra.  In  1910-12  he  taught  in  Asheville, 
N.  C,  and  has  since  lived  in  New  York.  In 
1913  he  was  music-critic  for  'Life,'  in  1914-18 
for  the  'Mail,'  and  since  1919  for  the  'Times,' 
besides  writing  for  the  Boston  'Transcript.' 
He  has  contributed  many  articles  to  maga- 
zines, prepared  program-notes  and  made  a 
specialty  of  translations  of  song-texts  and 
opera-librettos.     [  R.IO  ] 

SPALDING,  ALBERT  (Aug.  15,  1888, 
Chicago),  had  early  training  on  the  violin  in 
Italy,  graduating  from  the  Bologna  Conser- 
vatory in  1902,  besides  later  study  of  com- 
position. In  1905,  having  continued  violin 
imder  Lefort  in  Paris,  he  made  his  concert- 
debut  there,  followed  by  many  tours  through- 
out Europe.  He  first  appeared  in  America 
in  1908,  with  the  New  York  Symphony 
Society.  In  1917-19  he  served  in  the  Army 
as  artillery  observation-officer  in  France  and 
Italy.  Besides  his  eminence  as  a  player,  he  has 
written  two  violin-concertos ;  a  sonata  for 
violin  and  piano  ;  a  suite  for  violin  and  piano 
(Carl  Fischer)  ;  'Etchings'  (theme,  variations 
and  improvisation),  for  violin  and  piano; 
Theme  and  "Variations  for  orchestra;  four 
'  Serious  Pieces '  for  piano  ;  many  violin-pieces 
(Schirmer,  Hansen),  including  the  popular 
'Alabama';  and  songs  (Ditson).     [  R.9  ] 

SPALDING,  WALTER  RAYMOND  (May 
22,  1865,  Northampton,  Mass.),  the  son  of 
a  clergyman,  early  became  a  choir-boy.  At 
eleven  he  served  more  or  less  as  organist,  and 
soon  took  up  study  with  S.  B.  Whitney  and 
W.  A.  Locke  (piano).  From  1879  he  was 
organist  in  his  father's  church.  He  graduated 
at  Harvard  in  1887,  with  honors  in  music, 
having  taken  various  courses  with  Paine. 
A  year  of  post-graduate  study  brought  him 
an  A.M.  in  music.  As  yet,  however,  he  was 
equally  interested  in  the  classics  and  modern 
languages.  In  1888-92  he  taught  languages 
at  St.  Mark's  School  in  Southboro,  Mass., 
but  also  had  charge  of  the  music  there  and  in 
the  village  church.  In  1892-95  he  was  in 
Paris  with  Guilmant  and  Widor  and  in  Munich 
under  Rheinbergor  and  Thuille.  In  1895  he 
became  instructor  in  music  at  Harvard  till 
1900,  also  serving  as  organist  at  Christ  Church 
in  Cambridge  and  at  Emmanuel  Church  in 
Boston.  In  1903  he  became  assistant-pro- 
fessor at  the  University  and  in  1906  succeeded 
Paine  as  head  of  the  music-division.  Since 
1895  he  has  also  been  music-instructor  at 
Radcliffe  College.  He  has  been  active  in 
various  committees  for  the  promotion  of 
music,    including   that   on   Army   and   Navy 


Camp-Music  during  the  war.  He  has  pub- 
lished Tonal  Counterpoint,  1904,  and  (with 
Arthur  Foote)  Modern  Harmony,  1905,  both 
widely  used  as  text-books.  To  these  is  now 
added  Music,  an  Art  and  a  Language,  1920, 
a  striking  study  in  the  field  of  appreciation. 
[  R.7  ] 

SPARGUR,  JOHN  MITCHELL  (b.  1879). 
See  Register,  8. 

SPEAKS,  OLEY  (b.  1876) .     See  Register,  8. 

'SPECTRE  BRIDEGROOM.  THE.'  An 
opera  by  William  D.  Armstrong,  produced 
in  St.  Louis  in  1899. 

SPELMAN,  TIMOTHY  MATHER  (b. 
1891).     See  Register,  10. 

SPENCER,  ALLEN  HERVEY  (Oct.  30, 
1870,  Fairhaven,  Vt.),  studied  piano  in  New 
York  and  Chicago  with  Sherwood  and  theory 
with  Lutkin.  Since  1892  he  has  been  in  the 
faculty  of  the  American  Conservatory  in 
Chicago,  and  has  given  hundreds  of  piano- 
recitals  in  Chicago  and  elsewhere.  His 
repertoire  is  comprehensive  and  his  ability 
as  interpreter  unquestioned.  He  has  pub- 
lished Forty  Lessons  to  a  Teacher  and  con- 
tributed many  articles  on  piano-study  to 
periodicals.     [  R.8  ] 

SPENCER,  ELEANOR  (Nov.  30,  1890, 
Chicago),  began  public  appearances  as  pianist 
at  ten  and  then  studied  with  Mason  in  New 
York,  Bauer  in  Paris  and  Leschetizky  in 
Vienna.  In  1910  she  gave  her  first  recital  in 
London.  She  has  appeared  with  such  or- 
chestras as  the  Berlin  Philharmonic,  the 
Dresden  Gewerbehaus,  the  Amsterdam  Con- 
certgebouw,  the  London  Symphony,  the 
Queen's  Hall,  the  Brighton  and  the  New  York 
Philharmonic.  Her  first  recital  in  America 
was  in  New  York  in  1913.  Her  tours  have 
traversed  Germany,  Holland,  England  and 
the  United  States.     [  R.IO  ] 

SPENCER,  S.  P.  See  Colleges,  3  (Pied- 
mont C,  Ga.). 

SPENCER,  VERNON  (b.  1875).  See  Reg- 
ister, 9. 

SPICKER,  MAX  (Aug.  16,  1858,  Konigs- 
berg,  Germany  :  Oct.  15,  1912,  New 
York),  after  training  from  Louis  Kohler  and 
Robert  Schwalm,  in  1877-79  studied  at  the 
Leipzig  Conservatory  with  Reinecke,  Wenzel, 
Paul  and  Richter,  and  then  for  three  years 
conducted  theater-orchestras  in  various  Ger- 
man cities.  In  1882  he  came  to  New  York 
as  conductor  of  the  Beethoven  Mannerchor. 
In  1888-95  he  was  director  of  the  Brooklyn 
Conservatory,  and  in  1895  became  teacher  of 
harmony  and  counterpoint  at  the  National 
Conservatory.  In  1898-1910  he  was  also 
choir-master  at  Temple  Emanu-El.  For  many 
years  he  was  connected  with  the  firm  of  G. 
Schirmer  as  reader,  editing  numerous  works 
(among  them  'The  Messiah').     He  composed 


368 


SPIELTER 


SPRY 


a  suite  for  orchestra ;]  incidental  music  to 
Schiller's  'Demetrius';  the  cantata  'Der 
Pilot,'  for  baritone,  men's  chorus  and  or- 
chestra ;  choruses,  church-music  and  songs. 
He  edited  an  Anthology  of  Sacred  Song,  4 
vols.,  an  Operatic  Anthology,  3  vols.,  Aus  alter 
Herren  Lander  (folk-songs  arranged  for  men's 
chorus) ;  and  Synagogical  Service,  2  vols. 
[  R.7  ] 

SPIELTER,  HERMANN  (b.  1860).  See 
Register,  8. 

SPIERING,  THEODORE  (Sept.  5,  1871, 
St.  Louis),  began  violin-study  with  his  father, 
Ernst  Spiering.  In  1886-88  he  was  with 
Schradieck  in  Cincinnati,  followed  by  four 
years  with  Joachim  at  the  Berlin  Hochschule. 
On  his  return  he  became  a  member  of  the 
Thomas  Orchestra  in  Chicago,  making  his 
debut  as  soloist  in  February,  1893,  with  the 
Schumann  'Phantasie.'  He  left  the  Or- 
chestra in  1896,  having  three  years  previously 
organized  the  Spiering  Quartet.  In  twelve 
seasons  (1893-1905)  this  Quartet  gave  400 
concerts  in  the  United  States  and  Canada, 
introducing  many  new  works.  His  pedagogic 
work  in  Chicago  included  association  with 
Godowsky  at  the  Chicago  Conservatory  in 
1898-99,  the  direction  of  the  Spiering  Violin 
School  in  1899-1902,  and  associate  director- 
ship of  the  Chicago  Musical  College  in  1902-0.5. 
Meanwhile  he  had  been  active  as  conductor, 
with  appearances  in  Chicago,  the  Spiering 
Orchestra,  and  a  May  Festival  tour  in  1902. 
In  1905  he  removed  to  Berlin,  making  his 
debut  in  1906  with  the  Philharmonic  Or- 
chestra and  spending  three  years  largely  as 
soloist,  with  tours  in  Germany,  England 
and  Holland.  For  one  season  he  was  chief 
violin-instructor  at  the  Stern  Conservatory. 
In  1909  he  returned  to  New  York  as  concert- 
master  of  the  Philharmonic  Society  under 
Mahler.  In  the  spring  of  1911  he  substituted 
during  Mahler's  illness,  conducting  17  concerts. 
In  1911-14  he  again  resided  in  Berlin,  con- 
certizing  in  Germany,  Denmark  and  Swit- 
zerland, and  conducting  a  series  of  sym- 
phony concerts  (1912-14)  with  the  Ber- 
lin Philharmonic  and  Bliithner  Orchestras. 
Novelties  produced  at  these  concerts  were 
symphonies  by  Dukas  and  Paul  Graner, 
suites  by  Dohnanyi,  Casella  and  Reger, 
Kaun's  overture  'Am  Rhein,'  Hadley's  'Cul- 
prit Fay,'  and  important  works  by  Hausegger, 
von  Reznicek,  Delius  and  others.  He  was 
also  musical  adviser  for  the  'Neue  Freie 
Volksbiihne.'  Since  1914  he  has  lived  in 
New  York,  giving  concerts,  teaching,  and 
editing  violin-works  for  Carl  Fischer.  His 
published  works  are  Five  Songs,  op.  1 ;  six 
Artist  Studies  for  violin,  op.  4,  and  five  'Im- 
pressions' for  piano,  op.  5.  Violin-caprices, 
a   scherzo   for   string-quartet   and   songs   are 


still  unpublished,  as  is  also  a  treatise  on 
violin-study.     [  R.8  ] 

SPRAGUE,  ADELBERT  WELLS  (b. 
1881).     See  State  Universities  (Me.). 

SPRINGFIELD  MUSIC  FESTIVAL  AS- 
SOCIATION, THE,  of  Springfield,  Mass., 
was  started  in  1889  as  the  Hampden  County 
Musical  Association,  the  conductor  till  1899 
being  George  W.  Chadwick.  Another  effort 
under  C.  S.  Cornell  led  to  festival  under- 
takings in  1901  and  '02.  In  1903  the  present 
Association  was  organized  with  John  J. 
Bishop  as  conductor,  with  increasingly  success- 
ful festivals  ever  since.  The  chorus  averages 
about  350.  Besides  the  standard  oratorios, 
there  have  been  given  works  like  Bruch's 
'Arminius,'  Chadwick's  'Phoenix  Expirans,' 
Franck's  'The  Beatitudes,'  Parker's  'Hora 
Novissima,'  Verdi's  'Aida'  and  Requiem, 
and  Wolf-Ferrari's  '  La  Vita  Nuova.' 

SPROSS,  CHARLES  GILBERT  (Jan.  65 
1874,  Poughkeepsie,  N.  Y.),  as  a  youth 
studied  piano  in  Poughkeepsie  with  Adolph 
Kuehn  and  composition  with  Helen  J.  Andrus, 
continuing  with  Xaver  Scharwenka  and 
Emil  Gramm,  and  adding  composition  with 
Lachmund.  At  seventeen  he  was  organist 
at  St.  Paul's  in  Poughkeepsie.  Later  he 
played  for  eight  years  at  the  Second  Presby- 
terian Church  in  Paterson,  N.  J.,  and  five 
years  at  the  Rutgers  Presbyterian  Church 
in  New  York.  Since  1913  he  has  been  or- 
ganist of  the  First  Presbyterian  Church  in 
Poughkeepsie.  As  pianist  and  organist  he 
has  appeared  in  concert  throughout  the 
country.  His  services  as  accompanist  have 
been  much  in  demand,  and  he  has  toured 
with  Mmes.  Hempel,  Garden,  Destinn,  Gadski, 
Gluck,  Case,  Jomelli,  Homer,  Fremstad, 
Melba,  Schumann-Heink  and  Nielsen,  also  with 
Ysaye,  Gerardy  and  Amato.  His  published 
works  include  three  cantatas,  'The  Word  of 
God,'  'The  Glory  of  the  Resurrection'  and 
'  Christmas  Dawn ' ;  many  anthems  and 
part-songs ;  a  few  piano-  and  violin-pieces ; 
and  over  100  songs,  many  of  them  extensively 
sung.     [  R.8  ] 

SPRY,  WALTER  (Feb.  27,  1868,  Chicago), 
had  early  training  in  Chicago  with  Regina 
Watson  (piano)  and  Eddy  (organ),  and  later 
in  Vienna  with  Leschetizky,  in  Berlin  with 
Rudorff  and  in  Paris  with  Rousseau.  In 
1897-1900  he  was  director  of  the  Quincy 
(111.)  Conservatory,  in  1903-05  was  Sherwood's 
assistant,  in  1900-03  also  edited  'The  Music 
Review'  for  Summy,  and  in  1905-17  conducted 
his  own  Piano  School  in  Chicago.  He  is  now 
one  of  the  leading  piano-teachers  at  the 
Columbia  School  of  Music  there.  In  1918 
he  celebrated  the  twenty-fifth  anniversary 
of  his  first  appearance  in  Chicago  as  pianist. 
He  has   been  soloist  with   the   Chicago   and 


SQUIER 


STATE  ASSOCIATIONS       369 


St.  Louis  Orchestras.  He  has  written  an  over- 
ture, a  string-quartet,  piano-pieces,  choruses 
and  songs.     [  R.8  ] 

SQUIER,  J.  B,  (1838-1912).  See  Register, 
5. 

t  SQUIRE,  WILLIAM  BARCLAY  (Oct. 
16,  1855,  London).  See  article  in  Vol.  v.  667. 
His  Catalogue  of  Old  Printed  Music  [1487-1800] 
in  the  British  Miiseum,  2  vols.,  1912,  is  perhaps 
his  chief  work,  though  his  other  books  and 
articles  are  all  significant.  He  has  repeatedly 
contributed  to  'The  Musical  Quarterly.' 

STAHLBERG,  FREDERICK  (b.  1877). 
See  Register,  8. 

STAIR,  PATTY  (Nov.  12,  1869,  Cleveland), 
was  a  pupil  of  Franklin  Bassett.  Since  18S9 
she  has  taught  in  the  Cleveland  Conservatory 
and  from  1892  also  in  the  University  School, 
where  and  in  various  churches  she  has  been 
organist.  In  1914  she  was  the  first  woman  in 
Ohio  to  become  a  fellow  of  the  A.  G.  O.  For 
some  years  she  has  been  active  as  conductor 
of  Women's  Club  choruses.  She  has  become 
known  as  the  composer  of  many  effective 
songs,  part-songs  and  choruses,  and  has  also 
written  a  three-act  light  opera,  an  operetta, 
an  Intermezzo  for  orchestra,  some  organ- 
and  piano-pieces,  etc.     [  R.7  ] 

STANBRIDGE,  J.  H.  C.  See  Tune- 
Books,  1844. 

t  STANFORD,  CHARLES  VILLIERS 
(Sept.  30,  1852,  Dublin,  Ireland).  See  articles 
in  Vols.  iv.  671-4,  and  v.  667.  To  the  lists  of 
works  may  be  added  the  7th  Symphony,  op. 
124 ;  a  piano-concerto  in  C  minor,  op.  126 ; 
a  string-quartet,  op.  122 ;  a  piano-quartet, 
op.  132  ;  a  clarinet-sonata,  op.  129  ;  an  organ- 
sonata  ;  the  operas  '  The  Critic '  (from  Sheri- 
dan) (1916)  and  'The  Traveling  Companion'; 
incidental  music  to  Parker's  'Drake'  (1912); 
and  the  cantatas  'Fairy  Day'  (1913)  and 
'Merlin  and  the  Gleam'  (1920).  He  has  also 
published  Stttdies  and  Manners,  1908,  Musical 
Composition,  1911,  Pages  from  an  Unwritten 
Diary,  1914,  and  (with  Cecil  Forsyth)  a 
History  of  Music,  1916. 

STANLEY,  ALBERT  AUGUSTUS  (May 
25,  1851,  Manville,  R.  I.),  at  sixteen  was 
already  holding  a  responsible  post  as  organist 
in  Providence.  In  1871-75  he  studied  in 
Leipzig  under  Papperitz,  Reinecke,  Richter 
and  Wenzel.  During  the  last  year  he  was 
Richter's  assistant  and  also  occasional  organist 
at  the  Nikolai-Kirche.  After  a  year  of  teach- 
ing at  the  Ohio  Wesleyan  College,  in  1876-88 
he  was  organist  at  Grace  Church  in  Providence. 
Since  1888  he  has  been  professor  at  the  Uni- 
versity of  Michigan  and  from  1893  conductor 
of  the  May  Festivals.  In  1891-92  he  was 
secretary  of  the  M.  T.  N.  A.  and  in  1893 
president ;  was  a  founder  of  the  College  of 
Musicians,  of  the  A.  G.  O.  and  of  the  Manu-  I 
2b 


script  Society ;  in]1899  was  appointed  American 
representative  of  the  I.  M.  G.  and  in  1906-12 
president  of  its  American  Section,  and  is  an 
active  member  of  the  Musical  Association  of 
Great  Britain.  In  1889  the  University  of 
Michigan  made  him  A.  M.  and  in  1916  North- 
western University  made  him  Mus.D.  Be- 
sides his  energetic  development  of  the  Uni- 
versity School  of  Music,  he  has  had  charge  of 
the  Stearns  Collection  of  Musical  Instruments, 
given  to  the  University  in  1898,  and  of  this  he 
has  published  an  exhaustive  and  scholarly 
Catalogue,  1918  (2nd  edition  in  preparation). 
His  compositions  include  a  Symphony  in  F, 
an  orchestral  Scherzo  in  D,  the  symphonic 
poem  'Attis,'  a  Suite  in  E  for  violin  and  piano, 
a  Canon  and  Fugue  in  E  minor  for  piano, 
the  choral  and  orchestral  works  'City  of 
Freedom,'  'A  Psalm  of  Victory,'  'Chorus 
Triumphalis,'  'Laus  Deo'  and  'Consecration 
Hymn,'  and  incidental  music  to  Mackaye's 
'Sapho  and  Phaon,'  to  Euripides' '  Alcestis'  and 
'  Mensechmi '  —  the  last  three  employing  Greek 
motives  and  modes,  and  all  with  special 
accompaniment  simulating  ancient  instru- 
mentation. All  these  have  been  given  on 
various  civic  or  academic]occasions.  They  are 
now  published  as  Greek  Themes  in  Modern 
Musical  Settings,  1920,  being  Vols.  xv.  and  xvi. 
of  the  Humanistic  Series  of  University  of  Mich- 
igan Studies.     [  R.5  ] 

STANTON,  EDMOND  C.     See  Register,  7. 

STARR,  EDNA  V.  See  Colleges,  3 
(Rio  Grande  C,  Ohio). 

'STAR-SPANGLED  BANNER,  THE.' 
See  article  in  Vol.  iv.  674-5,  and  also  Sonneck, 
Report  on  'The  Star-Spangled  Banner,'  etc., 
1909,  and  its  enlarged  reissue  separately,  1914. 

STASNY,  KARL  RICHARD  (b.  1855). 
See  Register,  8. 

STATE  MUSIC  TEACHERS'  ASSO- 
CIATIONS began  to  be  formed  in  1876,  many 
of  them  (after  1886)  through  the  efforts  of 
the  Music  Teachers'  National  Association. 
Some  of  them  have  been  short-lived,  but  the 
majority  continue  and  are  extremely  serviceable 
in  bringing  teachers  into  fellowship,  in  up- 
holding professional  standards  and  in  advanc- 
ing interest  in  American  music  and  musicians. 
At  times  the  National  and  the  State  organi- 
zations have  been  knit  together  in  some  formal 
way,  but  practical  considerations  prevent 
close  official  union.  In  recent  years  the 
State  Associations  have  given  increasing  at- 
tention to  problems  of  'standardization'  or 
the  fixing  of  rules  and  tests  for  professional 
recognition.  In  several  cases  systems  of 
examination  and  certification  have  been  set 
up.  The  heads  of  all  Teachers'  Associations 
are  banded  together  in  an  Association  of 
Presidents  and  Past-Presidents. 

In    1893    H.    S.    Perkins    stated    that   the 


370    STATE  NORMAL  SCHOOLS 


STATE  UNIVERSITIES 


earliest  State  Associations  were  those  in  Ohio 
(1876),  Texas  (1885),  Illinois,  Michigan,  Kan- 
sas, Kentucky,  Rhode  Island,  Alabama  (1886), 
Indiana,  Colorado  (1887),  New  York  (1889), 
Connecticut  and  New  Hampshire  (1890).i 

The  latest  list  of  these  Associations,  with 
their  presidents,  is  as  follows :  ^ 

Arkansas,  H.  D.  Tovey,  Fayetteville ;  California, 
Mrs.  Sofia  N.  Newstadt,  52  Hamilton  Place,  Oakland ; 
Connecticut,  Mariette  N.  Fitch,  48  Union  St.,  Rock- 
ville ;  Illinois,  C.  E.  Sindlingcr,  Streator ;  Indiana, 
Ralph  Sloane,  Richmond ;  Iowa,  Henry  Matlack, 
Grinnell ;  Kansas,  Frank  A.  Beach,  Normal  School, 
Emporia;  Kentucky,  Anna  C.  Goff,  Lexington; 
Louisiana,  Florence  Huberwald,  2024  Coliseum  St., 
New  Orleans;  Michigan,  Francis  L.  York,  1013 
Woodward  Ave.,  Detroit;  Minnesota,  George  H. 
Fairclough,  Pittsburgh  Bldg.,  St.  Paul;  Mississippi, 
Mrs.  E.  H.  Hart,  Meridian;  Missouri,  Herbert 
Krumme,  Moss  Bldg.,  St.  Joseph;  New  York, 
Frederick  H.  Haywood,  Carnegie  Hall,  New  York 
City;  Nebraska,  Henry  C.  Cox,  3320  Dewey  Ave., 
Omaha ;  North  Carolina,  Mrs.  Crosby  Adams, 
Montreat ;  North  Dakota,  Mrs.  Amy  Simpson,  Minot ; 
Ohio,  Katherine  Bruot,  70  N.  Prospect  St.,  Akron; 
Oklahoma,  Mrs.  Mary  E.  Wharton-Hunt,  Still- 
water; Oregon,  John  C.  Monteith,  525  Patten  Rd., 
Portland;  Texas,  E.  Clyde  Whitlock,  1100  Hurley 
Ave.,  Fort  Worth;  Vermorit,  Lewis  J.  Hathaway, 
Middleburj';  Washington,  Herbert  Kimbrough; 
Pullman ;    Wisconsin,  Charles    H.    Mills,  Madison. 

STATE  NORMAL  SCHOOLS,  MUSIC  IN. 
In  every  State  but  one  there  are  Normal 
Schools  to  train  teachers  for  public-school 
work.  The  number  in  each  State  depends 
upon  various  considerations  besides  its  size.' 
The  total  number  in  the  whole  country  is 
about  180.  In  all  these,  with  but  trifling 
exceptions,  some  musical  instruction  is  pro- 
vided, but  the  amount  and  scope  of  it  varies 
greatly.  Many  Schools  are  large  (600-1000 
students),  while  others  are  too  small  to  have 
diversified  curricula.  On  the  whole,  there 
is  a  difference  between  the  East  and  the  West. 
In  New  England,  New  York  and  the  Southern 
States  the  number  of  music-instructors  is 
rarely  more  than  two  or  three,  but  in  Indiana, 
Pa.,  there  are  9,  in  Milwaukee  10,  in 
Emporia,  Kan.,  13,  in  Mansfield,  Pa.,  Valley 
City,  N.  D.,  and  Greeley,  Colo.,  7,  etc.  Simi- 
larly, in  the  East  and  South  the  instruction 
is  planned  chiefly  with  reference  to  the  training 
of  the  ordinary  grade-teacher  who  teaches 
many  other  subjects  than  music,  while  in  the 
West  generally  it  provides  also  for  the  much 
more  intensive  training  of  supervisors.  In 
many  cases  the  western  Schools  are  really 
music-schools,  some  of  them  open  to  other 
students  besides  those  preparing  for  public- 

»  Hist,  of  the  M.T.N. A.,  pp.  87-8. 

«  M.T.N. A.    Proceedings,    1919,   p.    237. 

'  For  example,  Pennsylvania  has  13,  New  York  10, 
Massachusetts,  Wisconsin  and  Alabama  9  each,  West 
Virginia  and  North  Carolina  8  each,  Virginia  7, 
Maine,  Oklahoma  and  California  6  each,  Illinois 
and  Missouri  5  each,  etc. 


school  teaching.  Instruction  in  piano  and 
violin  (sometimes  also  organ)  is  rather  common. 
Harmony  is  sometimes  taught,  and  occasionally 
counterpoint  and  even  orchestration.  The 
number  of  pianos  is  sometimes  notably  large 
—  Indiana,  Pa.,  38,  Kutztown,  Pa.,  23, 
Mansfield,  Pa.,  20,  Valley  City,  N.  D.,  20, 
Emporia,  Kan.,  19,  Milwaukee,  Bowling 
Green,  Ky.,  Aberdeen,  S.  D.,  and  Greeley, 
Colo.,  each  16,  etc.  Phonographs  are  nearly 
universal,  some  institutions  having  as  many 
as  ten.  In  a  fair  proportion  of  cases  there 
is  something  of  a  musical  library. 

Besides  the  State  Normal  Schools  there  are 
other  agencies  for  the  special  education  of 
teachers.  New  York,  Iowa  and  Colorado  have 
State  Teachers'  Colleges,  and  many  State  Uni- 
versities and  other  such  complex  institutions 
have  Schools  or  Colleges  of  Education  that  aim 
at  similar  results.  As  a  rule,  however,  music  is 
not  magnified  in  any  of  these,  though  students 
often  have  access  to  musical  opportunities  in- 
directly. Exceptional  emphasis  upon  music  is 
found  in  Teachers  College  in  Columbia  Univer- 
sity, New  York. 

STATE  UNIVERSITIES,  MUSIC  IN. 
The  growth  of  the  demand  for  'public  schools' 
in  the  early  19th  century  led  naturally  toward 
the  development  of  'state  universities'  as 
the  culminating  element  in  a  system  of  free 
civic  education.  It  is  true  that  many  'col- 
leges' founded  before  1800  rested  upon  grants 
of  public  money  and  had  been  more  or  less 
governed  by  public  authority.  Some  of  them 
bore  names  as  'universities'  of  the  States  in 
which  they  were  located.  But  the  tendency 
of  the  'college'  system  was  to  depend  upon 
private  or  denominational  endowment  and 
to  accent  a  single  course  of  study,  subject  to 
fees  for  tuition.  Beginning  with  the  Uni- 
versity of  Michigan,  founded  in  1837,  a  new 
type  rapidly  became  common,  providing  free 
tuition  in  many  different  lines  and  managed 
by  boards  of  trustees  responsible  to  the  States 
as  such.  This  new  type  naturally  became 
characteristic  of  those  sections  of  the  country 
that  were  developed  in  the  period  of  national 
expansion  preceding  the  Civil  War.  Mean- 
while, in  the  older  sections,  some  of  the 
'  colleges '  were  much  enlarged  in  scope,  so 
that  several  of  them  fulfilled  for  their  re- 
spective States  much  of  the  function  of  a 
'  state  university.' ' 

As  public  interest  in  music  advanced,  and 
the  vocational  opportunities  connected  with 
it  became  important,  it  was  natural  that 
gradually  around  or  within  the  'state  uni- 
versities'    music-schools    should    spring    up. 

1  Notable  instances  are  Harvard  (1636)  in  Mas- 
sachusetts, Yale  (1701)  in  Connecticut,  Princeton 
(1746)  in  New  Jersey,  Columbia  (1745)  in  New  York, 
Brown  (1764)  in  Rhode  Island,  Dartmouth  (1769) 
in  New  Hampshire,  Bowdoin  (1794)  in  Maine,  etc. 


STATE  UNIVERSITIES 


STATE   UNIVERSITIES       371 


In  many  cases  these  were  at  first  independent 
enterprises  that  were  ultimately  adopted 
into  the  university.  In  others  they  were 
started  as  departments  like  those  in  medicine, 
law,  engineering,  agriculture  and  the  like. 
Recently  such  schools  have  often  been  com- 
bined with  other  departments  into  Schools 
or  Colleges  of  Fine  Arts.  Although  now 
generally  reckoned  as  full  members  of  the 
circle  of  departments,  such  Schools,  owing 
to  their  use  of  individual  rather  than  class 
methods  in  praxis-topics,  have  stood  by 
themselves  in  requiring  considerable  tuition- 
fees,  and  there  has  been  much  hesitation 
about  granting  credit  for  work  in  praxis. 
Work  in  theory  and  history,  however,  has 
generally  been  credited,  and  often  work  of  an 
ensemble-character,  as  in  choruses  or  orchestras. 

There  are  now  nearly  100  institutions  of 
higher  education  under  State  control.  But 
about  half  of  these  are  special  in  character, 
devoted  to  technology,  industrial  arts,  mining, 
agriculture,  etc.  Some  of  the  Agricultural 
Colleges  have  taken  on  a  general  and  complex 
character,  and  a  few  of  them  have  given  special 
attention  to  music.  These  are  therefore 
included  in  the  present  summary.  But  the 
State  Teachers'  Colleges  are  more  naturally 
grouped  with  the  State  Normal  Schools,  as 
the  State  Women's  Colleges  are  with  Colleges 
for  Women  in  general.  In  order  to  give  some 
hint  of  the  historical  sequence,  the  institutions 
in  the  following  condensed  resume  are  ar- 
ranged more  or  less  chronologically. 

All  the  statements  made  in  the  article  upon 
Colleges  as  to  the  general  scope  of  in- 
struction apply  here,  but  with  a  few  slight 
differences  of  emphasis.  There  is  a  somewhat 
greater  prominence  given  to  theoretical  studies 
in  several  institutions,  and  some  give  no  credit 
for  praxis.  In  many  of  the  institutions  the 
aggregation  of  students  is  so  large  that  choral 
and  orchestral  concerts  command  special 
attention,  stimulating  interest  in  organizations 
within  the  institution  and  making  it  possible 
to  support  visiting  organizations.  In  many 
cases  there  is  great  attention  given  to  military 
bands,  notably  at  the  University  of  Illinois. 
In  most  of  the  larger  institutions  the  School 
of  Music  has  separate  buildings,  often  of 
importance,  with  large  auditorium,  organ, 
etc.  Several  of  them  have  significant  music- 
libraries. 

The  Universities  of  Michigan,  Wisconsin, 
Illinois,  Kansas,  and  Oklahoma  stand  out  as 
those  which  have  pushed  music-departments 
into  decided  eminence.  Several  others,  like 
Pennsylvania,  Indiana,  California  and  Colo- 
rado, have  given  prominence  to  thorough 
work  in  theory. 

The  total  number  of  students  in  the  State 
institutions    where    music    is     recognized    is 


considerably  over  100,000  each  year,  counting 
all  departments.  No  doubt  a  fair  proportion 
of  this  large  number  is  affected  in  some  way 
by  the  general  activities  of  the  School  of 
Music,  especially  as  these  extend  to  public 
concerts.  But  in  most  cases  the  number  of 
those  actually  taking  serious  courses  in  music 
is  still  extremely  small.  Two  reasons  for  this 
are,  first,  that  in  the  institutional  system 
music  is  counted  as  belonging  to  the  'col- 
legiate' or  undergraduate  division  (hence 
not  appealing  to  those  in  professional,  tech- 
nological or  graduate  divisions),  and,  second, 
that  there  are  special  fees  required. ^  It  is 
likely,  however,  that  gradually  the  practical 
influence  of  music  in  university-life  will 
decidedly  increase.  Thus  far  music  has  been 
emphasized  chiefly  for  its  use  as  an  element 
of  general  culture  or  as  a  vocation.  In  a  few 
cases  steps  have  been  taken  to  disclose  its 
possibilities  as  a  distinct  object  of  scientific, 
historical  and  philosophical  investigation. 

In  the  following  summary  the  same  plan 
of  statement  is  used  as  that  in  the  article  upon 
Colleges. 

Founded  before  1837 
University  of  Pennsylvania,  Philadelphia. 

Hugh  A.  Clarke  (from  1875).     No  praxis. 
Ohio  University,  Athens.     See  Colleges. 
Miami  University,  Oxford,  O. 

Aubrey  W.  Martin  (from  1914)  +2. 
University  of  Alabama,  University. 

Robert  Lawrence  (from  1917). 

[No  music-courses  at  the  Universities  of  Vermont, 
Maryland,  Virginia,  North  Carolina,  South 
Carolina  and  Georgia.] 

Founded  before  1861 
University  of  Michigan,  Ann  Arbor. 

Albert   A.    Stanley    (from    1888) -|-25.     Calvin    B. 
Cady,  1880-88. 
Indiana  University,  Bloomington. 

Winfred  B.  Merrill  (from  1919)  +3.      No  credit  for 
praxis.     Charles    D.    Campbell,    1906-19. 
University  of  Missouri,  Columbia. 

William  H.  Pommer  (from  1907) +1.  No  praxis. 
State  University  of  Iowa,  Iowa  City. 

Philip  G.  Clapp  (from  1919)  +8. 
University  of  Wisconsin,  Madison. 

Charles   H.    Mills    (from   1914) +10.     Fletcher   A. 
Parker,  1880-1907,  Rossetter  G.  Cole,  1907-09, 
Louis  A.  Coerne,  1910-14. 
University  of  Minnesota,  Minneapolis. 

Carlyle   Scott    (from   1904) +7.     Emil   Oberhoffer. 
1902-04. 
Louisiana  State  University,  Baton  Rouge. 

F.  T.  Guilbeau  (from  1918). 
University  of  California,  Berkeley. 

Charles  L.  Seeger  (from  1912)  +4.     No  credit  for 
praxis.     J.    Frederick    Wolle,    1905-11. 
University  of  Washington,  Pullman. 
Irving  M.  Glen  (from  1914) +7. 
[No  music-courses  at  the  University  of  Mississippi]. 

Founded  before  ISSO 
University  of  Nevada,  Reno. 

Maude  A.  Denny  (from  1913).     No  praxis. 

1  It  is  to  be  noted  that  recently  the  University  of 
Illinois  has  inaugurated  a  plan  whereby  tuition  in 
music  shall  be  as  free  as  that  in  any  other  subject. 


372 


STEARNS 


STEBBINS 


University  of  Kentucky,  Lexington. 

Carl  A.  Lampert.     No  praxis. 
University  of  Wyoming,  Laramie. 

Albert  Lukken  (from  1915)  +6. 
University  of  Illinois,  Urbana. 

J.     Lawrence    Erb     (from     1914)  +10.     Frederick 
Lawrence,  1901-08,  Charles  H.   Mills,  1908-14. 
West  Virginia  University,  Morgantown. 

Louis  Black  +8.     No  credit  for  praxis. 
University  of  Utah,  Salt  Lake  City. 

Thomas  Giles  +6.     No  praxis. 
University  of  Maine,  Orono. 

Adelbert  W.  Sprague  (from  1916). 
University  of  Nebraska,  Lincoln. 

Jacob  Singer  +1.     No  praxis,  but  courses  credited 
under  outside  teachers. 
Ohio  State  University,  Columbus. 

No  music-courses  except  in  summer-school  — 
William  W.  Campbell  (from  1912). 
University  of  Arkansas,  Fayetteville. 

Henry  D.  Tovey  (from  1908)   -|-4. 
University  of  Kansas,  Lawrence. 

Harold    L.    Butler    (from    1915)     +4.     George    B. 
Penny,  1890-1903,  Charles  S.  Skilton,  1903-15. 
University  of  Oregon,  Eugene. 

John  J.  Landsbury   (from  1917)   -f  11.     Irving  M. 
Glen,  1901-11,  Ralph  H.  Lyman,  1913-17. 
University  of  Colorado,  Boulder. 

George    M.    Chadwick.     No   praxis.     Charles   H. 
Farnsworth,  1888-1900. 

Founded  before  1905 
University  of  Texas,  Austin. 

Frank  L.  Reed  (from  1913)  -|-4.  No  credit  for  praxis. 
University  of  North  Dakota,  University. 

William  W.  Norton  (from  1910)    -|-3.     No  praxis, 
but  courses  credited  under  outside  teachers. 
University  of  South  Dakota,  Vermilion. 

Harry    C.   Harper  (from  1918)   +G.     E.    W.    Gra- 
bill,  1900-17. 
University  of  Arizona,  Tucson. 

Ida  W.  Douglass.     No  credit  for  praxis. 
University  of  Idaho,  Moscow. 

Eugene  E.  Storer  (from  1911)  +Z. 
University  of  New  Mexico,  Albuquerque. 

Henry  F.  Perrin  (from  1918). 
University  of  Oklahoma,  Norman. 

Fredrik  Holmberg  (from  1908)   -|-12.     Henry  Gue- 
lich,  1903-08. 
State  University  of  Montana,  Missoula. 

DeLoss  Smith  4-5. 
University  of  Florida,  Gainesville. 

James  W.  Chapman. 

State  Colleges 
Iowa  State  College,  Ames. 

Archibold  A.  Bailey  (from  1916)   -f-2. 
Pennsylvania  State  College,  State  College. 

Clarence  C.  Robinson  -\-l. 
Kansas  State  Agricultural  College,  Manhattan. 

Arthur    E.     Westbrook     (from    1913)     +8.     Olof 
Valley,  1904-13. 
North  Dakota  Agricultural  College,  Fargo. 

Clarence  S.  Putnam  -|-1.     No  theory. 
Montana  State  College,  Bozeman. 

Aaron  H.  Currier  (from  1915)  -|-4. 
Oklahoma  Agricultural  College,  Stillwater. 

Bohumil  Makovsky  (from  1915)   -|-6. 

See  various  references  in  articles  on  Colleges 
and  Public  Schools. 

STEARNS,  HENRY  V.  See  Colleges,  2 
(Illinois  Woman's  C). 

STEARNS  COLLECTION  OF  MUSICAL 


INSTRUMENTS,  THE,  at  the  University 
of  Michigan,  Ann  Arbor,  was  gathered  by 
Frederick  Stearns  (1831-1907),  a  chemist  of 
Detroit  and  the  founder  and  for  many  years 
head  of  an  extensive  pharmaceutical  busi- 
ness there.  The  making  of  this  collection 
was  a  special  enthusia-sm  with  him  from  1881 
to  1897,  though  it  was  not  the  only  line  of 
research  to  which  he  devoted  effort  and 
generous  expenditure.  As  with  his  other 
collections,  Mr.  Stearns  sought  to  make  this 
permanently  useful  by  giving  it  to  a  public 
institution.  In  1898  it  was  offered  to  the 
University  and  at  once  accepted.  The  donor 
continued  to  add  to  it  and  provided  funds 
for  its  study  and  proper  presentation. 

The  Collection  contains  over  1400  speci- 
mens, so  selected  as  to  give  a  fairly  com- 
prehensive view  of  the  whole  subject  of 
instrument-making,  both  in  its  intricate 
ethnological  variety  and  in  its  historical  evo- 
lution as  regards  the  implements  of  civilized 
music.  It  has  been  minutely  sifted,  classified 
and  described  by  Albert  A.  Stanley,  Director 
of  the  University  School  of  Music,  and  in  1918 
he  published  under  the  University  imprint 
a  monumental  Catalogue  of  it,  which  not  only 
brings  its  contents  within  the  easy  ken  of 
intelligent  students,  but  at  the  same  time 
sets  up  a  standard  of  scientific  classification 
and  nomenclature  for  the  subject  in  general. 
This  volume  of  260  pages  has  elaborate 
indexes  and  frequent  critical  and  historical 
notes  of  unusual  interest. 

The  arrangement  adopted  is  analytic  or 
systematic  rather  than  geographic  or  his- 
torical. Five  classes  are  distinguished,  ac- 
cording as  sound-production  arises  (a)  from 
a  solid  body,  like  plates,  bells,  gongs,  bars, 
rods  or  tongues,  (6)  from  a  stretched  mem- 
brane,"as  in  the  various  drums  and  tambour- 
ines, (c)  from  a  confined  air-column,  as  in  the 
flutes,  oboes,  trumpets,  etc.,  {d)  from  a 
stretched  string,  as  in  harps,  dulcimers,  zithers, 
lutes  and  viols,  or  (e)  from  either  strings, 
air-columns  or  reeds  controlled  or  actuated 
from  a  keyboard. 

STEBBINS,  GEORGE  WARING  (June 
16,  1869,  near  Albion,  N.  Y.),  was  the  son  of 
the  singing  evangelist,  George  C.  Stebbins. 
He  studied  in  Brooklyn  with  H.  E.  Browne 
and  Woodman  (organ),  F.  F.  Powers  (voice) 
and  Shelley  (composition),  with  further  work 
in  Paris  under  Sbriglia  and  Guilmant,  and  in 
London  under  Henschel.  Since  1893  he  has 
been  organist  in  Brooklyn  —  at  the  Emmanuel 
Baptist  Church  in  1894-99  and  since  1902, 
and  at  Plymouth  Church  in  1899-1902.  He 
was  a  founder  of  the  A.  G.  O.  and  has  appeared 
often  as  recitalist.  Since  1910  he  has  also 
taught  singing  at  the  New  York  Teachers' 
Training  Institute,   and  from    1913  has  con- 


STECK 


STERNBERG 


373 


ducted  the  Singers'  Club  in  New  York  and  from 
1916  the  Long  Island  Musical  Art  Society. 
He  has  published  many  organ-pieces,  anthems, 
choruses  and  songs.     [  R.8  ] 

STECK,  GEORGE  (1829-1897).  See  Reg- 
ister, 4. 

STECK,  GEORGE,  &  CO.,  New  York, 
is  a  piano-making  business  established  in  1857 
by  George  Steck.  They  secured  high  awards 
at  the  Vienna  and  Philadelphia  Expositions 
of  1873  and  1876.  The  business  is  now  a 
branch  of  the  ^olian  Company.  Besides  the 
New  York  factory  there  is  another  at  Gotha, 
Germany. 

STEERE,  J.  W.,  &  SON  ORGAN  CO., 
THE,  Springfield,  Mass.,  was  established  in 
1867,  originally  as  Steere  &  Turner.  In 
recent  years,  especially  since  Henry  F.  Van 
Wart  came  in  1911  as  superintendent,  they 
have  produced  many  instruments  of  large 
size  and  notable  excellence,  among  them  those 
in  Woolsey  Hall  at  Yale  University,  in  the 
Municipal  Auditorium  in  Springfield,  in  the 
Piedmont  Church  in  Worcester,  and  in 
the  First  Church,  Scientist,  in  Kansas  City. 

STEFANO,  SALVATORE  DE  (b.  1887). 
See  Register,  10. 

STEINBRECHER,  FREDERIC  W.  (1818- 
7  ).     See  Register,  4. 

STEINDEL,  BRUNO  (b.  1866).  See  Reg- 
ister, 8. 

STEINER,  LEWIS  HENRY  (1827-  ?  ). 
See  TuNE-BooKs,  1859. 

STEINERT,  MORRIS  (Mar.  9,  -1831, 
Scheinfeld,  Germany  :  Jan.  21,  1912,  New 
Haven,  Conn.),  as  a  boy,  while  apprenticed 
to  an  optician,  had  lessons  on  the  harpsichord 
from  the  village  cantor  and  on  the  guitar  from 
a  chimney-sweep.  Soon  he  began  composing 
for  orchestra,  incidentally  learning  to  play 
the  'cello.  As  vender  of  optical  goods  he 
traveled  in  Switzerland,  Germany  and  Russia, 
and  as  dealer  in  hops  visited  France.  About 
1854  he  came  to  America.  In  New  York  he 
joined  Maretzek's  opera-orchestra  as  'cellist 
(Thomas  being  then  one  of  the  first  violins), 
then  traveled  with  a  minstrel-troupe,  and  for 
a  time  worked  in  Savannah  as  clerk  in  a 
music-store  and  organist.  The  outbreak  of 
the  Civil  War  in  1861  led  him  to  return  to  the 
North,  where  he  finally  settled  in  New  Haven, 
at  first  on  a  salary  of  $100  per  year.  He 
taught,  organized  an  orchestra,  opened  a 
music-store,  and  built  up  a  prosperous  business 
as  dealer  in  pianos.  He  invented  a  form 
known  as  the  'Steinertone,'  and  more  and  more 
became  interested  in  collecting  rare  and  historic 
instruments.  His  collection  of  about  500 
pieces  he  presented  to  Yale  University  in  1900, 
and  endowed  a  prize  in  the  School  of  Music 
in  1906,  besides  three  scholarships.  He 
was  one  of  the  founders  in  1892  of  the  New 


Haven  Symphony  Orchestra.  In  1892  his 
collection  was  exhibited  at  the  Vienna  Ex- 
position and  in  1S93  at  the  Columbian  Ex- 
position in  Chicago.  A  handbook  of  it  was 
published  as  The  M.  Steinert  Collection  of 
Keyed  and  Stringed  Instruments,  1893.  His 
name  is  also  perpetuated  in  the  piano-making 
firm   M.    Steinert's   Sons   &   Co.,   of  Boston. 

[  R.4] 
STEINWAY.    HENRY    ENGELHARDT 

(1797-1871).     See  Vol.  iv.  691,  and  Register,  4. 

STEINWAY  &  SONS,  New  York.  See 
article  in  Vol.  iv.  691-2,  and  references  in 
Vol.  iii.  729-32.  Charles  H.  Steinway  died 
in  New  York  on  Oct.  30,  1919. 

STEPHENS,  ALBERT  JAMES  (b.  1878). 
See  Colleges,  3  (Fargo  C,  N.  D.). 

STERLING,  ANTOINETTE  (Jan.  23, 
1850,  Sterlingsville,  N.  Y.  :  Jan.  9,  1904, 
Hampstead,  England).  See  article  in  Vol. 
iv.  693-4.  During  her  residence  in  America 
in  1871-73  she  was  for  a  time  soloist  in  Henry 
Ward  Beecher's  church  in  Brooklyn.  Some 
songs  written  for  and  first  sung  by  her  became 
very  popular,  among  them  Sullivan's  'Lost 
Chord'  (first  sung  at  a  Boosey  Ballad  concert, 
London,  Jan.  31,  1877),  Cowen's  'The  Better 
Land,'  Molloy's  'Darby  and  Joan'  and  Barn- 
by's  'When  the  tide  comes  in.'     [  R.5  ] 

STERLING,  WINTHROP  SMITH  (Nov. 
28,  1859,  Cincinnati),  graduated  from  the 
Cincinnati  College  of  Music  as  gold  medalist 
in  1883,  and  spent  the  next  four  years  at  the 
Leipzig  Conservatory  under  Reinecke,  Jadas- 
sohn and  Zwintscher.  He  also  studied  there 
with  R.  Hoffman  (composition)  and  Frau 
Unger-Haupt  (voice),  and  in  London  with 
Turpin  (organ),  Shakespeare  and  Behnke 
(voice).  In  1887-1903  he  taught  singing  and 
composition  at  the  Cincinnati  College  of 
Music,  and  was  head  of  the  organ-department. 
In  1903  he  founded  the  Metropolitan  College 
of  Music,  of  which  he  is  now  dean.  He  has 
been  organist  in  London  and  Cincinnati,  gave 
organ-recitals  at  the  Chicago,  Buffalo  and 
St.  Louis  World's  Fairs  and  elsewhere,  and  has 
lectured  on  problems  of  singing  and  musical 
education.  He  has  written  a  suite  and  an 
overture  for  orchestra,  church-music,  organ- 
and  piano-pieces  and  songs.     [  R.7  ] 

STERNBERG,  CONSTANTIN  FVANO- 
VITCH,  Edler  von  (July  9,  1852,  Petrograd, 
Russia),  when  a  boy,  on  Liszt's  recommen- 
dation, became  a  pupil  of  Moscheles,  Cocciua 
and  Richter  at  the  Leipzig  Conservatory. 
Later  he  studied  with  Kullak  in  Berlin,  and 
made  his  debut  as  pianist  there  in  1875,  with 
encouragement  from  Rubinstein.  He  also 
served  as  chorus-master  at  the  Stadt-Theater 
and  as  conductor  at  Briihl's,  at  Wiirzburg  and 
Kissingen  in  the  summers,  and  at  the  court- 
opera  in  Neu-Strelitz.     In   1875-77  he  waa 


374 


STEVENS 


STOCK 


court-pianist  at  Schwerin  and  head  of  the 
Academy  Music  School.  In  1875  and  '77 
he  had  lessons  from  Liszt.  In  1877-78  he 
toured  with  the  singer  Mme.  Desiree  Artot 
through  Europe,  Russia,  Siberia,  Asia  Minor 
and  Egypt.  In  1880  he  came  to  America  on 
a  concert-tour,  and  for  six  years  after,  at  first 
alone,  then  with  Wilhelmj  and  Minnie  Hauk. 
In  1886  he  became  a  citizen  and  settled  first 
in  Atlanta,  removing  in  1890  to  Philadelphia, 
where  he  established  the  Sternberg  School 
of  Music,  which  he  still  directs.  Most  of  hia 
more  than  100  works  are  for  the  piano.  Many 
of  them  have  been  often  played  by  Hofmann, 
Godowsky,  Mme.  Bloomfield-Zeisler  and 
others.  The  'Humoresque,'  op.  26,  the 
five  Concert-fitudes,  the  'Impromptu'  and 
'Caprice  Hyppique'  (Peters),  the  'Nuit 
Arabe,'  'En  BohSme'  and  the  three  '  Preludes,' 
op.  106,  he  regards  as  most  characteristic. 
He  has  also  written  six  piano-trios,  and  many 
choral  works  and  songs.  Besides  frequent 
articles  in  magazines,  he  has  published  The 
Ethics  and  Esthetics  of  Piano-Playing,  1917. 
[  R.7  ] 

STEVENS,  ROBERT  W.     See  Colleges, 
3  (U.  of  Chicago,  111.). 

STEVENSON,  EDWARD  IRENiEUS  (b. 
1868).     See  Register,  7. 

STEVENSON,  FREDERICK  (Sept.  16, 
1845,  Newark,  England),  graduated  at  St. 
John's  College  in  Sussex  in  1806.  In  1867-74 
he  was  organist  in  Forest  Hill  and  in  1874-82 
in  Blackheath,  pursuing  composition  with 
Macfarren  and  J.  F.  Bridge  and  composing 
many  works,  including  'Cyrus,'  besides  con- 
ducting choral  societies  and  teaching  at  the 
Blackheath  Conservatory.  In  1883  he  became 
precentor  at  St.  John's  Cathedral  in  Denver, 
where,  with  Walter  E.  Hall,  he  developed 
choir-services  of  special  excellence.  Later 
he  was  at  St.  Mark's  and  the  Synagogue, 
directed  the  Denver  Conservatory  and  led 
the  Concert  Choir.  From  1894  he  was  in  Los 
Angeles  as  organist,  conductor  and  composer. 
In  1905-18  he  was  specially  engaged  there  and 
in  Santa  Barbara  in  developing  his  conception 
of  modern  harmony,  and  since  1918  has 
resumed  teaching  at  Los  Angeles.  He  has 
composed  a  large  number  of  sacred  solos  with 
organ  accompaniment  (or  other  instruments), 
various  anthems  and  part-songs,  and  the 
choral  works  'Easter  Eve  and  Morn,'  'Om- 
nipotence,' 'Christmas  Bells,'  'The  Angel 
Gabriel,'  etc.  (Ditson,  Church).  He  has  also 
written  somewhat  for  orchestra  and  chamber- 
instruments.     [  R.7  ] 

STEWART,  HUMPHREY  JOHN  (May 
22,  1856,  London,  England),  began  at  eleven 
as  chorister  and  organist.  He  played  in 
various  London  churches  until  1886,  when  he 
came   to   San   Francisco   as   organist   of   the 


Church  of  the  Advent,  going  later  to  Trinity 
Church  and  the  First  Unitarian  Church.  In 
1901,  after  giving  recitals  at  the  Buffalo 
Exposition,  he  went  to  Trinity  Church  in 
Boston,  but  after  two  years  returned  to  San 
Francisco,  this  time  at  St.  Dominic's.  In 
1915  he  became  official  organist  of  the  Ex- 
position at  San  Diego,  and  still  continues 
playing  daily  on  the  open-air  organ  at  Balboa 
Park.  It  is  interesting  that  the  annual  series 
of  250  to  300  recitals  on  this  instrument,  the 
first  outdoor  organ  in  the  world,  have  been 
interrupted  less  than  thirty  times  in  five  years 
by  unfavorable  weather.  In  1919  the  programs 
included  2270  selections  from  385  composers. 
These  recitals  have  established  his  reputation 
as  a  player  of  great  ability  and  wide  sympathy. 
As  conductor  he  has  been  identified  with  vari- 
ous choral  and  orchestral  organizations,  notably 
the  Handel  and  Haydn  Choral  Society  of 
San  Francisco.  His  oratorio  'The  Nativity' 
(1888,  Church)  has  had  performances  through- 
out the  country.  A  romantic  opera,  'Bluff 
King  Hal'  (1889),  and  two  comic  operas, 
'His  Majesty'  (1890)  and  'The  Conspirators' 
(1900),  have  been  performed,  and  he  has  also 
written  the  music  for  three  of  the  'Grove- 
Plays'  of  San  Francisco  Bohemian  Club, 
'Montezuma'  (1903),  'The  Cremation  of 
Care'  (1906),  and  'Gold'  (1916).  He  has 
composed  the  orchestral  suites  'Montezuma' 
(1903)  and  'Scenes  in  California'  (1906), 
three  masses,  incidental  music  to  several  plays, 
songs,  choruses,  piano-,  organ-  and  violin- 
music.  The  gold  medal  of  the  A.  G.  O.  was 
awarded  in  1899  for  his  anthem  'I  beheld, 
and  lo  !' ;  and  in  1907  he  won  prizes  from  the 
Chicago  Madrigal  Club  and  the  Pittsburgh 
Male  Chorus  for  other  choral  works.  He  is 
a  founder  of  the  A.  G.  O.,  an  honorary  life- 
member  of  the  Bohemian  Club,  and  has  been 
or  is  president  of  several  musical  organizations. 
In  1898  the  University  of  the  Pacific  made  him 
Mus.D.     [  R.7  ] 

STEWART,  JAMES.     See  Register,  3. 

STICKNEY,  JOHN  (1744^1827).  See 
TuNE-BooKs,  1774. 

STIEFF,  CHARLES  M.  (1805-1862).  See 
Register,  4. 

STIEFF,  CHARLES  M.,  is  the  firm-name 
of  the  piano-making  business  established  in 
Baltimore  by  Charles  M.  Stieff  in  1842  and 
steadily  developed  by  his  son,  Frederick  P. 
Stieff  and  two  grandsons.  Since  before  1890 
Herman  Keuchen  has  been  their  chief  designer, 
and  his  skill  has  done  much  to  forward  their 
reputation  as  leading  makers. 

STOCK,  FREDERICK  AUGUST  [Fried- 
rich  Wilhelm  August]  (Nov.  11,  1872,  Jiihch, 
Germany),  had  early  training  from  his  father, 
a  well-known  band-master  and  composer  of 
military  music.     In  1880-90  he  studied  at  the 


STOCKER 


STOEVING 


375 


Cologne  Conservatory  under  Wiillner,  Japha, 
Humperdinck,  Gustav  Jensen  and  Gustav 
Hollander,  becoming  proficient  in  violin  and 
composition.  On  his  graduation  with  highest 
honors  he  was  chosen  from  over  fifty  com- 
petitors as  a  first  violinist  in  the  famous 
Municipal  Orchestra.  In  1895,  having  met 
Thomas  in  Cologne,  he  came  to  the  Chicago 
Orchestra.  In  1901-05  he  was  assistant- 
conductor  and  in  1905  Thomas'  successor. 
In  1918-19  he  was  temporarily  withdrawn, 
awaiting  completion  of  his  American  citizen- 
ship. In  1920  he  added  to  his  duties  the  care 
of  the  Civic  Music  Student  Orchestra.  Hia 
compositions  include : 

Symphony  No.  1,  in  C  minor  (1910). 
Symphony  No.  2,  in  E-flat  (1915,  not  yet  given). 
Symphonic  Variations,  in  B  minor  (1904). 
Symphonic    Poem,    'Life,'    in    E-flat,    in    memory 

of  Theodore  Thomas  (1905). 
Overture,  'Life's  Springtide,'  in  A  (1912,  given  in 

1913). 
Overture,  'To  a  Romantic  Comedy,'  in  D  (1917, 

given  in  1918). 
Overture,  'Nature,'  in  D  (not  yet  given). 
Four  Symphonic  Sketches,  'The  Seasons'   (1911, 

given  in  1912,  Berlin). 
Symphonic  Waltz  in  D   (1907,  given  at  Winona 

Lake). 
Improvisation  and  Wedding  Music   (1907,  Pitts- 
burgh). 
Concerto  in  D  minor,  for  violin   (1915,   Norfolk 

Festival,  Zimbalist). 
Festival  March  and  'Hymn  to  Liberty,'  for  20th 

anniversary  of  the  Chicago  Orchestra  (1910). 
March  and  'Hymn  to  Democracy,'  in  E-flat  (1919). 
Quartet  in  C  minor,  op.  6,  for  strings. 
Quintet  in  B-flat  minor,  op.  8,  for  strings. 
Sextet  in  F,  op.  3,  for  strings. 
Also   songs,    violin-   and   piano-pieces,    and    many 

orchestral  arrangements.  [   R.8  ] 

STOCKER,  STELLA,  nee  Prince  (Apr.  3, 
1858,  Jacksonville,  111.),  graduated  at  the 
University  of  Michigan,  spent  a  year  at 
Wellesley  College  and  was  later  at  the  Sor- 
bonne  in  Paris.  She  began  music  at  the 
Jacksonville  Conservatory,  studied  piano 
with  Frau,  Gliemann  in  Dresden  and  Xaver 
Scharwenka  in  Berlin,  singing  with  Sbriglia 
in  Paris  (1910-13),  and  counterpoint  and 
composition  with  Klein  in  New  York.  Being 
much  attracted  by  the  music  of  the  Indians, 
she  has  lived  among  them,  becoming  a  member 
of  one  of  the  Ojibway  tribes,  with  the  name 
'  O  -  mes  -  qua  -  wi  -  gi  -  shi  -  go  -  que '  ('  Red  -  Sky- 
Lady').  In  her  compositions  Indian  melodies 
appear  without  change,  especially  in  the 
choruses  of  her  plays.  She  has  lectured  on 
Indian  music  and  legends  in  America  and 
abroad.  'Sieur  du  Lhut,'  a  play  in  four  acts, 
and  'The  Marvels  of  Manabush,'  an  Indian 
pantomime  in  three  acts,  make  liberal  use  of 
Indian  themes.  Earlier  and  more  conventional 
works  are  the  operettas  'Beulah,  Queen  of 
Hearts,'  'Ganymede'  and  'Raoul,'  besides 
pieces  for  piano.     She  is  an  active  member  of 


the  New  York  and  Chicago  Manuscript 
Societies.     [  R.7  ] 

STOCKHOFF,  WALTER  WILLIAM 
(Nov.  12,  1887,  St.  Louis),  who  is  entirely  self- 
taught  in  music,  has  been  teaching  in  St. 
Louis  since  1904.  His  published  works  in- 
clude, for  the  piano,  a  Sonata,  'in  contem- 
plation of  the  Nations  at  War ' ;  'In  the 
Mountains,'  a  set  of  seven  impressions ;  a 
Lullaby;  and  twelve  'Quodlibets'  (all  Breit- 
kopf) ;  and  also  three  piano-trios.  He  has 
in  manuscript  works  for  orchestra,  piano  and 
voice,  and  further  chamber-music.  His  writ- 
ing has  been  thus  highly  praised  by  Busoni : 
'In  the  hands  of  an  intelligent  virtuoso,  a 
sympathetic  interpreter,  the  seven  'Im- 
pressions' will  create  a  rich,  brilliant  and  most 
fascinating  effect.'     [  R.9  ] 

STODART,  ROBERT.     See  Register,  3. 

STOECKEL,  CARL  (b.  1858).  See  Reg- 
ister, 8. 

STOECKEL,  GUSTAV  JACOB  (1819- 
1907).     See  Register,  4. 

STOESSEL,  ALBERT  FREDERIC  (Oct. 
11,  1894,  St.  Louis),  after  preliminary  edu- 
cation in  St.  Louis,  became  a  pupil  of  Hess 
and  Wirth  at  the  Berlin  Hochschule.  His 
d6but  as  violinist  was  made  there  with  the 
Bliithner  Orchestra,  and  in  America  with  the 
St.  Louis  Orchestra  in  1915.  In  Berlin  he 
was  a  member  of  the  Willy  Hess  String- 
Quartet  and  was  associated  with  leading 
artists  in  concert-work.  After  service  in 
the  U.  S.  Army  he  resumed  concert-work  in 
1919.  He  has  composed  a  string-quartet 
in  D  (1914,  Berlin),  a  string-quintet  in  C 
minor  (1915,  Amsterdam),  violin-pieces,  and 
songs.     [  R.IO  ] 

STOEVING,  CARL  HEINRICH  PAUL 
(May  7,  1861,  Leipzig,  Germany),  after 
general  training  at  the  Gymnasium,  had  three 
years  at  the  Leipzig  Conservatory,  with 
Schradieck  as  his  chief  teacher,  followed  by 
work  with  Leonard  in  Paris.  In  1881-82 
he  taught  violin  at  the  Konigsberg  Con- 
servatory, and  in  1882-83  was  concertmaster 
of  a  symphony-orchestra  in  Hamburg.  After 
a  concert-tour  in  Russia  and  Scandinavia, 
in  1884  he  came  to  the  United  States  and 
toured  extensively,  part  of  the  time  with  the 
Mendelssohn  Quintette  Club.  From  1896 
he  was  in  London,  at  first  largely  in  concert- 
work,  but  from  1898  as  teacher  at  the  Guild- 
hall School  of  Music  and  from  1907  at  the 
Trinity  School  of  Music.  His  The  Art  of 
Violin-Bowing,  1902,  went  to  many  editions 
in  both  English  and  German  and  made  him 
known  as  an  authority.  He  then  added 
The  Story  of  the  Violin,  1905,  an  ingenious 
blending  of  history  and  romance  that  has 
become  a  classic,  and,  more  recently,  Elements 
of  Violin-Playing  and  a  Key  to  Sevcik's  Works, 


376 


STOJOWSKI 


STOKOWSKI 


1914.  He  has  also  written  stories  and  novel- 
ettes, with  the  violin  as  center  of  interest, 
for  English  and  American  magazines  (also 
in  book-form  in  German).  In  1914  he  re- 
turned to  America,  dividing  his  time  as  teacher 
between  New  York  and  the  New  Haven  School 
of  Music,  of  which  he  was  director  in  1914- 18. 
He  has  published  '  Lyric  Pieces,'  op.  1, '  Summer 
Idyls,'  op.  2,  'At  the  Fountain,'  op.  4,  an 
Album-Leaf  and  Concert-fitude,  op.  6,  and  a 
'Danish  Dance,'  op.  8,  all  for  violin  and  piano. 
He  has  also  written  a  string-quartet,  four 
pieces  for  string-orchestra,  a  violin-concerto  in 
one  movement,  a  Capriccio  for  four  violins,  a 
prize  Romance  for  violin  and  orchestra,  two 
song-cycles,^  etc.  In  manuscript  he  also  has 
further  literary  works.     [  R.7  ] 

STOJOWSKI,  SIGISMOND  DENIS  AN- 
TOINE  (Apr.  8,  1870,  Strzelce,  Poland),  the 
son  of  a  Polish  noble,  had  his  early  education 
in  the  Cracow  Lyceum  and  ]  under  Zelenski 
at  the  Conservatory,  graduating  in  1887. 
As  a  child  he  played  in  the  salon  of  Princess 
Czatoryska,  once  a  pupil  of  Chopin,  and  in 
1883  appeared  with  orchestra,  playing  Beet- 
hoven's C  minor  concerto  with  an  original 
cadenza.  In  1887-89  he  studied  at  the 
Sorbonne  in  Paris  and  at  the  Conservatory 
under  Diemer,  Dubois  and  Delibes,  graduating 
in  1889  with  honors  in  piano  and  counterpoint, 
and  then  continuing  under  the  guidance  of 
Gorski  and  Paderewski.  In  1891  he  gave 
a  concert  in  the  Salle  iSrard  with  the  Colonne 
Orchestra  with  an  original  program,  in- 
cluding his  piano-concerto  in  F-sharp  minor 
and  an  orchestral  Ballade.  An  orchestral 
suite  from  this  period  which  attracted  Tchai- 
kovsky's interest  was  later  given  by  Von 
Biilow  in  Hamburg  and  by  Halle  in  Man- 
chester. After  some  years  of  life  in  Paris, 
with  many  concert-tours,  in  1905-11  he  was 
head  of  the  piano-department  of  the  In- 
stitute of  Musical  Art  in  New  York  and  in 
1911-17  at  the  Von  Ende  School,  often  return- 
ing to  Europe  for  concerts  —  notably  in  1913, 
when  he  gave  his  2nd  Concerto  in  London 
with  Nikisch.  He  has  played  often  with 
leading  orchestras  in  America,  and  in  1912 
gave  a  notable  series  of  historical  concerts 
in  New  York.  During  the  war  and  since  he 
has  been  specially  active  on  behalf  of  Poland. 
As  a  teacher  he  is  the  authorized  exponent 
of  Paderewski's  methods,  and  counts  among 
his  pupils  players  like  Novaes,  Levitzky, 
Arthur  Loesser  and  Elenore  Altman.  In 
1918  he  married  his  former  pupil,  Luisa 
Morales-Machedo  of  Lima.  His  compositions 
include  (all  for  piano  except  as  noted) 

Two  'PensSes  Musicales,'  op.  1  (Schott). 
Deux  Caprices,  op.  2  (Augener). 
Concerto  in  F-sharp  minor,  op.  3,  for  piano  and 
orchestra  (Augener). 


Troi3  InterraMes,  op.  4   (Schott). 

Quatre  Morceaux,  op.  5  (Schott). 

Variations  and  Fugue,  op.  6,  for  string-quartet. 

Cantata,  'Le  Printemps,'  after  Horace,  op.  7, 
for  chorus  and  orchestra  (Novello,  given  at 
Buckingham  Palace). 

Three  Piano-Pieces,  op.  8  (Schott). 

Suite  in  E-flat,  op.  9,  for  orchestra  (Schott). 

'Deux  Orientales,'  op.  10  (Schott). 

Five  Songs,  poems  by  Asnyk,  op.  H  (Schott).    ] 

'Danses  Humoresques,'  op.  12  (Augener). 

Sonata  in  G,  op.  13,  for  violin  and  piano  (Schott). 

Three  Piano-Pieces,  op.  15  (Schott). 

Deux  Caprices,  op.  16  (Schott). 

Sonata  in  A,  op.  18,  for  'cello  and  piano  (Schott). 

'Cinq  Miniatures,'  op.  19  (Heugel). 

Romanza,  op.  20,  for  violin  and  orchestra  (Peters). 

Symphony  in  D  minor,  op.  21  (Peters,  also  for 
piano,  four  hands). 

Concerto  in  G  minor,  op.  22,  for  violin  and  or- 
chestra (Schmidt). 

Symphonic  Rhapsody,  op.  23,  for  piano  and  or- 
chestra (Peters). 

Five  'Polish  Idyls,'  op.  24  (Peters). 

Five  'Romantic  Pieces,'  op.  25  (Peters). 

Four  Piano-Pieces,  op.  26  (Peters). 

Fantaisie,  op.  27,  for  trombone  and  piano  (1905, 
for  Paris  Conservatory  competition)  (Evette). 

Deux  Mazurkas,  op.  28  (Schmidt). 

'  Aus  Sturm  und  Stille,'  op.  29,  six  pieces  (Peters). 

'Trois  Esquisses,'  op.  30  (Schmidt). 

Concerto  in  D,  op.  31,  for  'cello  and  orchestra 
(Heugel). 

Concerto  —  Prologue,  Scherzo,  Variations,  op.  32, 
for  piano  and  orchestra  (Heugel). 

Six  Songs,  poems  by  Tetmajer,  op.  33  (Heugel). 

Trois  Etudes  de  Concert,  op.  35  (Heugel). 

Four  'Poemes  d'6t4,'  op.  36  (Schirmer). 

Sonata  in  E,  op.  37,  for  violin  and  piano  (Heugel). 

Fantaisie,  op.  38  (Heugel). 

Five  'Aspirations,'  op.  39  (Heugel). 

'A  Prayer  for  Poland,'  op.  40,  for  chorus,  organ 
and  orchestra  (Schirmer). 

Other  piano-pieces  and  songs,  without  opus-no. 
(Schott,  Heugel). 

Among  unpublished  works  are  an  unfinished 
2nd  Symphony,  a  Ballade  and  Scherzo  for 
orchestra,  a  Concerto  in  F  minor  for  piano, 
a  piano-quintet  (unfinished),  etc.     [  R.9  ] 

STOKOWSKI,  LEOPOLD  ANTON  STAN- 
ISLAW  (Apr.  18,  1882,  London,  Eng- 
land), was  of  Polish  parentage.  His  early 
education  was  in  England,  France  and  Ger- 
many, and  included  violin,  piano  and  organ. 
In  1905-08  he  was  organist  at  St.  Bartholo- 
mew's in  New  York.  After  a  year  in  Europe 
as  guest-conductor,  in  1909-12  he  was  con- 
ductor of  the  Cincinnati  Orchestra,  going 
thence  in  1912  to  be  leader  of  the  Philadelphia 
Orchestra.  He  holds  a  Mus.B.  from  Oxford 
and  a  Mus.D.  from  the  University  of  Penn- 
sylvania (1917).  In  1911  he  married  the 
pianist  Olga  Samaroff.  Among  large  works 
introduced  by  him  in  America  are  Mahler's 
8th  Symphony  and  his  cycle  'Das  Lied  von 
der  Erde,'  Rabaud's  2nd  Symphony  and 
Schonberg's  'Chamber  Symphony.'  He  has 
also  been  active  in  bringing  out  works  by 
American  composers  (see  Philadelphia  Or- 


STOLZ 


STRUBE 


377 


chestra).  His  rise  into  prominence  as  an  or- 
chestral conductor  of  the  first  class  has  been 
extremely  striking.     [  R.9  ] 

STOLZ,  PAUL  G.  See  Colleges,  3  (Buck- 
nell  U.,  Pa.). 

STONE,  JOSEPH.  See  Register,  2,  and 
Tune-Books,  1793. 

STOKER,  EUGENE  HAMILTON.  See 
State  Universities  (Ida.). 

STORER,;  MARIA  :(d.  1795).  See  Regis- 
ter, 1. 

STOUGHTON  MUSICAL  SOCIETY, 
THE,  of  Stoughton,  Mass.,  was  organized  in 
1786  as  a  men's  chorus.  It  grew  out  of  a 
singing-school  conducted  by  Billings.  Though 
not  the  first  musical  organization  in  the  United 
States,  it  occupies  a  unique  place  because  of 
its  unbroken  history  to  the  present  as  an 
active  choral  society.  It  is  now  a  large  mixed 
chorus.  It  issued  the  Stoughton  Collection, 
1828,  and  another  compilation  under  similar 
name  in  1878,  the  latter  valuable  because 
preserving  old  pieces  of  'psalmody.' 

STRAKOSCH,  MAURICE  (1825,  Lem- 
berg,  Galicia  :  Oct.  9,  1887,  Paris).  See 
article  in  Vol.  iv.  713.  In  January,  1857,  he 
managed  his  first  season  of  Italian  opera  in 
New  York.  In  1859  he  took  his  company  to 
Chicago  for  a  series  of  performances.  He  wrote 
the  operas  '  Sardanapalus '  and  'Giovanna  di 
Napoli '  (given  in  New  York) ,  some  piano-pieces 
and  the  books  Souvenirs  d'un  Impresario,  1887, 
and  Ten  Commandments  of  Music  for  the  Per- 
fection of  the  Voice,  1896.     [  R.4  ] 

STRAKOSCH,  MAX  (1834-1892).  See 
note  in  Vol.  iv.  713,  and  Register,  4. 

STRANSKY,  JOSEF  (Sept.  9,  1874,  Hupo- 
lec,  Bohemia),  was  originally  trained  in 
medicine  at  the  universities  of  Prague, 
Vienna  and  Leipzig,  but  also  studied  music 
under  Lostak,  Fibich  and  Dvorak  in  Prague 
and  with  Fuchs  and  Bruckner  in  Vienna. 
After  his  graduation  in  1896  he  turned  to  a 
musical  career.  In  1898-1900  he  was  con- 
ductor at  the  German  National-Theater  in 
Prague  and  in  1900-09  at  the  Hamburg  Opera, 
with  many  engagements  elsewhere  in  opera 
and  concert.  In  1909-10  he  led  the  Bliithner 
Orchestra  in  Berlin  and  was  chief  conductor 
of  the  Wagner  Concerts  at  the  New  Opera. 
In  1910-11  he  was  in  charge  of  symphony- 
concerts  in  Dresden,  besides  further  activity 
as  guest-conductor.  In  1911  he  became 
Mahler's  successor  as  conductor  of  the  New 
York  Philharmonic  Society,  where  he  intro- 
duced important  reforms  in  the  orchestra. 
He  has  written  two  operas  ('Der  General' 
often  given  in  Hamburg),  a  Symphonic  Suite 
(given  in  Dresden  and  Berlin),  various  songs 
(Schuberth,  Simrock),  and  arrangements  of 
Berlioz'  'Beatrice  et  B6n6dict'  and  of  Gluck's 
'Paride  ed  Elena.'     [  R.IO  ] 


{STRAUSS,  RICHARD  (June  11,  1864, 
Munich,  Germany).  See  article  in  Vol.  iv. 
717-20,  and  note  in  v.  668.  His  further  operas 
are  'Der  Rosenkavalier '  (1911,  Dresden,  1913, 
New  York),  'Ariadne  auf  Naxos'  (1912, 
Stuttgart,  and,  revised,  1916,  Berlin)  and 
'Die  Frau  ohne  Schatten'  (1919,  Vienna), 
besides  the  ballet  '  Josef  s-Legende '  (1914, 
Paris).  He  has  also  produced  the  elaborate 
' Alpensymphonie '  (1915,  Berlin,  1916,  Phila- 
delphia, Cincinnati,  New  York).  The  latter  is 
a  fresh  illustration  of  his  technical  mastery. 
See  bibliography  in  Baker,  Diet,  of  Musicians, 
pp.  921-2. 

STRICKLAND,  LILY  TERESA  (b.  1887). 
See  Register,  9. 

STRONG,  EDWARD  (b.  1870).  See  Col- 
leges, 3  (Carleton  C,  Minn.). 

STRONG,  GEORGE  TEMPLETON  (May 
26,  1856,  New  York).  See  article  in  Vol. 
iv.  728-9.  His  Symphony  'In  the  Mountains* 
was  given  in  New  York  on  Nov.  24,  1887, 
and  the  'Sintram'  Symphony  on  Apr.  12, 
1892.     The  following  works  should  be  added: 

'Marchen'  —  'Gestrebt,'  'Gewonnen,'  'Geschei- 
tert,'  op.  12,  for  violin  and  orchestra. 

Tonstiick  for  English  horn  and  organ. 

'Knights  and  Naiads,'  for  soli,  chorus  and  or- 
chestra. 

Symphonic  Idyl,  'An  der  Nixenquelle,'  for  two 
pianos. 

Symphony  No.  3,  'An  der  See.' 

Four  Pieces  —  'At  Sunset,'  'Peasants'  Battle- 
March,  'In  the  Old  Forest,'  'The  Awakening 
of  the  Forest-Spirits,'  for  orchestra. 

His  humorous  trio  for  violins  and  viola, 
'A  Village  Music-Director,'  was  first  given 
in  America  by  the  Flonzaley  Quartet  in  1917. 
[  R.6  ] 

STRONG,  SUSAN  (b.  1875?).  See.  Reg- 
ister, 8. 

STRUBE,  GUSTAV  (Mar.  3,  1867,  Bal- 
lenstedt,  Germany),  had  his  first  lessons  from 
his  father,  and  entered  the  Leipzig  Con- 
servatory in  1884,  studying  violin  with  Brod- 
sky  and  Herrmann,  piano  with  Reckendorf, 
ar^d  harmony  and  composition  with  Jadassohn 
and  Reinecke.  In  1S90  he  came  as  a  first 
violinist  to  the  Boston  Symphony  Orchestra, 
continuing  till  1913.  During  this  period  he 
wrote  three  overtures,  two  symphonies,  two 
violin-concertos,  a  string-quartet,  two  sym- 
phonic poems  with  viola  obbligato,  a  'cello- 
concerto,  a  Rhapsody  for  orchestra,  a  cantata 
for  men's  chorus  and  orchestra,  a  Rhapsody 
for  chorus  and  orchestra,  and  many  violin- 
pieces.  For  twelve  years  he  was  one  of  the 
conductors  of  the  Popular  Concerts,  and  for 
six  years  led  the  orchestral  numbers  at  the 
Worcester  Festivals.  Since  1913  he  has 
taught  harmony,  counterpoint  and  com- 
position at  the  Peabody  Conservatory  in 
Baltimore,  and  since  1916  he  has  been  con- 


378 


STUDEBAKER  HALL 


SZUMOWSKA 


ductor  of  the  Baltimore  Symphony  Or- 
chestra. Important  pieces  since  1913  are 
Variations  for  orchestra,  the  three-act  Ameri- 
can opera  'Ramona,'  a  sonata  for  violin  and 
piano,  a  violin-concerto,  a  sonata  for  viola 
and  piano,  and  two  symphonic  poems  for 
orchestra.     [  R.8  ] 

STUDEBAKER  HALL,  in  Chicago,  in  the 
Fine  Arts  Building,  was  opened  in  1895. 
It  has  always  been  a  headquarters  for  concerts 
and  from  1899  was  long  used  for  opera  in 
English  and  other  opera-performances.  See 
Upton,  Musical  Memories,  pp.  312-6. 

STURANI,  GIUSEPPE.      See  Register,  9. 

SUCHER,  F.  J.  See  Colleges,  3(  Eureka 
C,  111.). 

SULLY,  Mrs.     See  Register,  2. 

SURETTE,  THOMAS  WHITNEY  (Sept. 
7,  1862,  Concord,  Mass.),  graduated  from 
Harvard  in  1891,  studying  piano  with  Foote 
and  theory  with  Paine.  In  1883-93  he  was 
organist  at  Concord,  in  1893-94  music-master 
at  the  Hill  School  in  Pottstown,  Pa.,  and  in 
1895-96  organist  at  Christ  Church  in  Balti- 
more. From  1895  he  took  up  lecturing  on 
music  both  under  the  American  Society  for 
the  Extension  of  University  Teaching  and 
(since  1909)  also  on  the  extension-staff  of 
Oxford  University.  His  activity  in  this 
field  has  been  extensive  in  America  and 
England,  and  he  has  prepared  useful  syllabi 
of  music-history.  He  has  also  published  The 
Appreciation  of  Music,  1907,  with  D.  G.  Ma- 
son, The  Development  of  Symphonic  Music, 
1915,  Music  and  Life,  1917,  and  many  articles. 
His  compositions  include  the  operetta  'Pris- 
cilla,  or  the  Pilgrim's  Proxy,'  the  dramatic 
ballad  'The  Eve  of  St.  Agnes,'  for  soli,  chorus 
and  orchestra  (1898),  the  romantic  opera 
'Cascabel'  (1899),  anthems  and  instrumental 
pieces.     [  R.7  ] 

SUTRO,  FLORENCE  EDITH,  nee  Clinton 
(1865-1906).     See  Register,  7. 

SUTRO,  ROSE  LAURA  J(b.  1870)  and  OT- 
TILIE  (b.  1872).     See  Register,  8. 

SVECENSKI,  LOUIS  (b.  1862).    See  Reg- 

t  SVENDSEN,  JOHAN  SEVERIN  (Sept. 
30,  1840,  Christiania,  Sweden  :  June  14, 
1911,  Copenhagen,  Denmark).  See  article  in 
Vol.  iv.  758-9.  From  1896  he  also  conducted 
at  the  Royal  Theater  in  Copenhagen.  In  1908 
he  retired  from  active  service. 

SWAN,  TIMOTHY  (1758-1842).  See  Reg- 
ister, 2,  and  Tune-Books,  1785. 

SWARTHOUT,  MAX  VAN  LEWEN  (b. 
1880).     See  Register,  9. 

SWEENEY,  GEORGE  C.  See  Tune- 
Books,  1810. 


SWEETSER,  JOSEPH  EMERSON  (1825- 
1873).     See  Tune-Books,  1849. 

SWEETZER,  BENJAMIN,  Jr.  See  Tune- 
BooKs,  1839. 

SWIFT,  SAMUEL  (Jan.  19,  1873,  Newark, 
N.  J.  :  July  21,  1914,  New  York),  gradu- 
ated from  the  University  of  Pennsylvania  in 
1894,  having  also  studied  at  the  Philadelphia 
Musical  Academy  and  been  organist  in  1891-93 
at  churches  in  Wilmington,  Del.  In  1894-1907 
he  was  critic  for  the  New  York  'Evening 
Mail,'  in  1900  going  abroad  as  correspondent. 
In  1907-09  he  was  on  the  staff  of  the  'Tribune' 
and  from  1909  on  that  of  the  'Sun.'  He  was 
one  of  the  founders  of  the  New  Music  Society 
and  a  member  of  the  MacDowell  Club  and 
other  organizations.     [  R.8  ] 

SYMPHONY  HALL,  in  Boston,  was  built 
in  1899,  especially  to  provide  a  headquarters 
for  the  Boston  Symphony  Orchestra.  One 
of  its  leading  founders  was  Maj.  Henry  L. 
Higginson,  the  patron  of  the  orchestra.  See 
cut  in  Vol.  i.  368. 

SYMPHONY  SOCIETY  OF  NEW  YORK, 
THE.  See  article  in  Vol.  iv.  805.  In  1914 
Henry  H.  Flagler  assumed  responsibility  for 
the  financial  support  of  the  orchestra.  In 
1920  Mr.  Damrosch  took  the  orchestra  to 
Europe  for  a  tour  of  several  weeks  in  France, 
Italy,  the  Low  Countries  and  England. 
Among  the  novelties  introduced  have  been 
Elgar's  2nd  Symphony  (1911),  Sibelius'  4th 
Symphony,  Fanelli's  'Tableaux  Symphoniques' 
and  Elgar's  'Falstaff'  (1913),  Kolar's  Sym- 
phonic Suite  and  Ravel's  'Daphnis  et  Chloe' 
(1914),  Delius'  'Summer  Night  on  the  River' 
and  'On  Hearing  the  First  Cuckoo,'  and 
Damrosch's  music  for  'Iphigenia  in  Aulis,' 
'Medea'  and  'Electra'  (1915,  the  last  three 
repeated  in  1918),  and  Griffes'  'Poem'  for 
flute  and  orchestra  (1919).  In  several  seasons 
about  1910  series  of  Beethoven  concerts  were 
a  feature.  In  1908  a  new-found  Trio  of  his  for 
harpsichord,  flute  and  bassoon  was  brought  out. 

SZUMOWSKA,  ANTOINETTE  (Feb.  22, 
1868,  Lublin,  Poland),  had  her  general  edu- 
cation in  Warsaw  and  studied  piano  with 
Strobl  and  Michalowski  there.  In  1890-95 
she  was  with  Paderewski  in  Paris.  In  1891 
she  appeared  at  the  Salle  £]rard,  in  1892  many 
times  in  England,  and  in  1893  toured  again 
there  and  in  Russia  and  Poland.  In  1895 
she  came  to  America,  playing  with  the  Boston 
Symphony,  New  York  Symphony  and  Thomas 
Orchestras.  In  1896  she  married  the  'cellist 
Joseph  Adamowski,  and,  with  him  and  his 
brother,  formed  the  Adamowski  Trio.  During 
the  war  she  devoted  herself  largely  to  work 
as  president  of  the  Friends  of  Poland.     [  R.8  ] 


TALBOT,  HOWARD  (b.  1865).  See  Reg- 
ister, 8. 

TALBOT,  THOMAS  R.  (b.  1884).  See  Reg- 
ister, 10. 

TAMARO,  JOSEF  (1824-1902).  See  Reg- 
ister, 6. 

t  TANIEIEV,  SERGEI  IVANOVITCH 
(Nov.  25,  1856,  Govt,  of  Vladimir,  Russia  : 
June  18,  1915,  Moscow).  See  article  in  Vol. 
V.  17.  In  1889-1906  he  was  professor  of 
counterpoint  and  composition  at  the  Moscow 
Conservatory,  and  his  fine  library  was  be- 
queathed to  that  institution.  Among  his 
famous  pupils  are  Scriabin  and  Rachmaninov. 
To  the  list  of  works  should  be  added  a  'Suite 
de  Concert,'  op.  28,  for  violin  and  orches- 
tra ;  two  string-quintets,  op.  14  in  G  and 
op.  16  in  C ;  a  string-quartet  in  B-flat,  op. 
19 ;  a  piano-quartet  in  E,  op.  20  ;  two  string- 
trios,  op.  21  in  D  and  op.  31  in  E-fiat ;  a  piano- 
trio  in  D,  op.  22 ;  a  prelude  and  fugue  in 
G-sharp  minor,  op.  29,  for  two  pianos ;  about 
40  songs  and  a  number  of  choruses.  See 
Montagu-Nathan,  Contemporary  Russian  Com- 
posers, 1917. 

TAPPER,  BERTHA,  n6e  Feiring  (1859- 
1915).     See  Register,  7. 

TAPPER,  THOMAS  (Jan.  28,  1864,  Can- 
ton, Mass.),  gained  his  general  education  in 
history,  literature  and  languages  through  pri- 
vate tutors.  He  studied  music  at  the  Peter- 
eilea  Academy  in  Boston,  continuing  it 
with  art-subjects  in  Europe.  For  some 
years  he  taught  theory  and  composition  in 
Boston.  He  edited  'The  Musical  Record  and 
Review'  in  1903-04  and  'The  Musician'  in 
1904-07.  Since  1905  he  has  been  lecturer  at 
the  Institute  of  Musical  Art  in  New  York, 
in  1907-09  was  director  of  the  Music  School 
Settlement,  and  since  1908  has  been  music- 
director  at  New  York  University.  In  1911 
he  was  made  Litt.D.  by  Bates  College.  In 
1895  he  "married  the  able  Norwegian  pianist 
Bertha  Feiring.  He  has  been  a  frequent 
contributor  to  musical  and  literary  magazines, 
and  has  published  many  books.  Those 
directly  relating  to  music  include  Chats  with 
Music-Students,  1890,  The  Music-Life,  1892, 
Music-Talks  with  Children,  1896,  Pictures 
from  the  Lives  of  the  Great  Composers,  1899, 
The  Child's  Music-World,  1896,  First  Studies 
in  Music-Biography,  1900,  Education  of  the 
Music-Teacher,  Essentials  in  Music-History, 
1914  (with  Percy  Goetschius),  and  many  text- 
books for  elementary  and  advanced  music- 
study,  such  as  The  Melodic  Music-Course,  28 
vols.,  with  charts  (with  F.  H.  Ripley),  a  series 
on  Music-Theory,  6  vols.,  and  The  Modern 
Graded  Piano-Course,   19  vols.,  besides  a  few 


translations.  He  also  has  in  preparation  a 
number  of  further  manuals  on  music-history, 
appreciation  and  theory.  Besides  specializing 
in  musical  education,  he  has  recently  given 
great  attention  to  the  subject  of  community- 
music,  on  which  he  has  a  book  in  view.  Out- 
side of  music,  he  has  published  much  in  general 
literature  and  in  the  field  of  commercial 
efficiency.     [  R.7  ] 

TAWS,  CHARLES  (d.  1833).  See  Register, 
2. 

TAYLOR,  DAVID  CLARK  (Nov.  11,  1871, 
New  York  :  Dec.  7,  1918,  New  York), 
graduated  from  the  College  of  the  City  of 
New  York  in  1890,  and  studied  music  with 
O.  W.  Wilkinson,  Alfred  Remy  and  others. 
He  was  long  connected  with  The  Macmillan 
Company.  He  published  The  Psychology  of 
Singing,  1908  (in  German,  1910),  New  Light 
upon  the  Old  Italian  Method,  1916,  Self-Help 
for  Singers,  1914  (in  German,  1914)  and  The 
Melodic  Method  in  School  Music,  1917.  He 
had  charge  of  the  department  of  Vocal  Music 
in  The  Art  of  Music,  1914-17,  and  wrote  many 
articles  upon  topics  related  to  singing.     [  R.9  ] 

TAYLOR,  JOSEPH  DEEMS  (Dec.  22, 1885, 
New  York),  was  educated  at  the  Ethical  Cul- 
ture School  and  graduated  from  New  York  Uni- 
versity in  1906.  He  studied  composition 
with  Oscar  Coon.  Besides  his  work  as 
composer,  in  1916-17  he  was  war-correspond- 
ent for  the  (Sunday)  'Tribune'  and  since 
1917  has  been  associate-editor  of  'Collier's 
Weekly.'  In  1919  he  lectured  in  Denver 
on  music-history  and  appreciation.  His  works 
include  a  symphonic  poem,  'The  Siren  Song,' 
op.  2  (Nat.  Federation  of  Musical  Clubs  prize, 
1913),  'The  Chambered  Nautilus,'  op.  7,  for 
chorus  and  orchestra  (1915,  Schola  Cantorum) 
(Ditson),  the  cantata  'The  Highwayman,' 
op.  8,  for  chorus  and  orchestra  (1914,  Peter- 
boro  Festival)  (Ditson),  the  song-cycle 
'The  City  of  Joy,'  op.  9  (Ditson),  the  suite 
'Through  the  Looking-Glass,'  op.  12,  for 
strings,  wind  and  piano,  'Six  Lyrics  of  James 
Stephens,'  op.  13  (J.  Fischer),  Seven  Tran- 
scriptions of  Armenian  Folk-Songs,  op.  14  (J. 
Fischer).  He  has  also  edited  the  Schumann 
Club  Series,  arrangements  for  women's  voices, 
60  nos.,  1919  (J.  Fischer)  and  joined  Schindler 
in  translating  many  Russian  and  Alsatian 
folk-songs,  beside  other  translations  of  Russian, 
French,  German  and  Italian  songs.     [  R.IO  ] 

TAYLOR,  RAYNOR  (1747,  England  : 
1825,  Philadelphia),  like  G.  K.  Jackson,  who 
was  nearly  of  the  same  age,  had  his  first  school- 
ing as  a  boy  in  the  Chapel  Royal.  In  this  ca- 
pacity he  is  said  to  have  assisted  at  Handel's 
funeral  in  1759  —  and  to  have  lost  his  hat  in  the 


379 


380 


TAYLOR 


THAYER 


great  man's  grave.  From  about  1765  for  some 
years  he  was  organist  at  Chelmsford,  not  far 
from  London.  His  success  as  a  ballad-writer 
and  his  natural  bent  for  the  stage  then  led  to 
his  becoming  music-director  for  one  of  the 
London  theaters.  Somewhere  before  1785 
he  was  the  teacherjof  Reinagle,  who  was  eleven 
years  younger.  In  1792  he  came  to  Baltimore, 
gave  some  concerts  there  and  at  Annapolis, 
where  for  a  time  he  was  organist  at  St.  Anne's, 
but  in  1793  betook  himself  to  Philadelphia. 
Here  for  thirty  years  he  was  the  Nestor  of  the 
fine  circle  to  which  Reinagle,  Carr  and  Schetky 
belonged.  For  most  of  this  period  he  was 
organist  at  St.  Peter's.  In  1820  he  was  one 
of  the  founders  of  the  Musical  Fund  Society 
and  honored  in  its  councils.  As  a  player 
he  was  famous  for  improvisation.  He  was 
also  a  clever  stage-singer,  with  a  gift  for  the 
comic  and  burlesque.  He  composed  both 
vocal  and  instrumental  works,  but  nothing 
remains  except  some  unimportant  songs. 
In  1796  he  gave  a  program,  half  of  which  was 
made  up  of  his  own  compositions.  In  1799 
he  and  Reinagle  prepared  a  'Monody'  over 
the  death  of  Washington  which  made  a  deep 
impression.  The  titles  of  several  plays  by 
him  or  for  which  he  wrote  accompaniments 
are  given  by  Sonneck  {Concert-Life,  pp.  42, 
47, 140,  144-5,  and  in  '  Early  American  Op- 
eras,' I.  M.  O.  Sammelbde.  6.  458,  486,  488). 
See  also  Madeira,  passim.     [  R.2  ] 

TAYLOR,  SAMUEL  PRIESTLEY  (1779- 
1875?).     See  Register,  3. 

TAYLOR,  VIRGIL  CORYDON  (1817-  ?  ). 
See  Tune-Books,  1846. 

TECHNICON,  THE.  See  note  in  Vol.  ii. 
266.  The  inventor,  J.  Brotherhood,  was  a 
Canadian.  For  some  time  he  was  in  New 
York,  seeking  to  promote  the  use  of  his  ap- 
paratus, which  he  patented  in  many  countries 
in  1885.  His  ideas  as  to  the  importance  of 
training  the  extensor  muscles  as  well  as  the 
flexors  were  sound,  and  the  apparatus  was 
well  designed.  For  a  time  it  was  manufac- 
tured at  Brattleboro,  Vt. 

'TEMPLE  OF  MINERVA,  THE.'  An 
'oratorio'  or,  rather,  an  allegorical  operetta 
in  two  scenes  by  Francis  Hopkinson,  given 
in  Philadelphia  in  1781  at  an  entertainment 
tendered  by  the  French  Minister  to  Gen. 
Washington.  Only  the  libretto  is  extant. 
See  Sonneck,  Francis  Hopkinson,  and  I.M. 
G.  Sammelbde.  5.  148-51. 

'TEMPLE-DANCER,  THE.'  A  one-act 
opera  by  John  Adam  Hugo,  produced  at  the 
Metropolitan  Opera  House  on  Mar.  12,  1919. 

TERRIL,  ISRAEL.  See  Tune-Books, 
1806. 

t  TERRY,  RICHARD  RUNCTMAN  (1865, 
Ellington,  England).  See  article  in  Vol.  v. 
668.     Besides   going   forward   with   his   work 


in  recovering  early  Catholic  music  ia  England, 
in  1911  he  was  extension-lecturer  for  Oxford 
University,  in  1911-12  head  of  the  Union  of 
Music-Directors  of  Secondary  Schools,  in  1913 
lecturer  at  Birmingham  University  and  in  1915- 
17  examiner  for  Dublin  and  Birmingham  Uni- 
versities. He  has  written  five  masses,  a 
Requiem  and  many  motets,  and  has  edited  sev- 
eral collections  of  old  English  motets  and  The 
Official  Catholic  Hymnal  for  England,  with  a 
book  on  Catholic  Church-Music.  See  article  in 
'  Musical  Opinion,'  January,  1920. 

JTETRAZZINL  LUISA  (1874,  Florence, 
Italy).  See  article  in  Vol.  v.  668.  In  1904 
she  sang  as  Gilda  in  'Rigoletto'  in  San  Fran- 
cisco, and  then  went  to  Mexico  and  South 
America.  Though  announced  at  the  Metro- 
politan Opera  House  for  1905-06  and  at  the 
Manhattan  for  1906-07,  she  failed  to  appear 
in  either  case.  But  after  her  London  debut 
in  1907  she  came  to  New  York,  appearing  at 
the  Manhattan  as  Violetta  in  'La  Traviata'  on 
Jan.  15,  1908,  continuing  there  till  its  closing 
in  1910.  She  then  made  concert-tours,  sang 
at  times  with  the  Chicago  and  Boston  Opera 
Companies  and  revisited  England.  In  1913- 
14  she  was  with  the  Chicago  Opera  Company, 
and  made  a  tour  in  1919-20. 

TEYTE,  MAGGIE  (Apr.  17,  1889,  Wolver- 
hampton, England),  after  general  education 
at  St.  Joseph's  Convent  in  Wolverhampton, 
studied  at  the  Royal  College  of  Music  in 
London,  and  in  1903-07  with  Jean  de  ReszkS 
in  Paris.  Her  debut  was  at  Monte  Carlo  in 
1907,  as  Zerlina.  During  the  next  two  seasons 
she  sang  at  the  Opera-Comique  in  Paris, 
appearing  first  as  Melisande  in  'Pel leas  et 
Melisande.'  In  1910-11  she  sang  in  London, 
and  from  1911-14  was  with  the  Chicago 
Opera  Company,  making  her  American  debut 
as  Cherubino  in  '  Le  Nozze  di  Figaro '  on  Nov. 
4,  1911,  in  Philadelphia.  Her  first  appear- 
ance in  New  York  was  in  a  song-recital  on 
Nov.  16,  when  she  was  praised  for  her  rendering 
of  French  songs.  In  1915-17  she  was  with 
the  Boston  National  Grand  Opera  Company. 
She  has  made  concert-tours  in  America  and 
England,  singing  with  leading  orchestras  and 
in  recital.  Her  favorite  roles  are  Melisande 
and  Mimi.     [  R.IO  ] 

THALBERG,  MARCIAN  (b.  1877).  See 
Register,  10. 

THATCHER,  HOWARD  RUTLEDGE 
(b.  1878).     See  Register,  9. 

THAYER,  ALEXANDER  WHEELOCK 
(Oct.  23,  1817,  South  Natick,  Mass.  :  July 
15,  1897,  Trieste,  Austria).  See  article  in 
Vol.  V.  79-80.  The  story  of  Thayer  and  hia 
Life  of  Beethoven  is  told  by  H.  E.  Krehbiel  in 
'The  Musical  Quarterly'  for  October,  1917. 
The  manuscript  for  the  English  edition  by 
Krehbiel    has    been    ready    since    1914,    but 


THAYER 


TIMM 


381 


publication  has  been  deferred  because  of  war 
conditions.  Volumes  ii.  and  iii.  of  the  orig- 
inal, as  revised  by  Riemann,  were  pub- 
lished in  1910-11.  With  the  German  edition 
complete,  Krehbiel  began  the  English  version, 
and  by  the  omission  of  unnecessary  material 
expects  to  bring  it  within  three  volumes  of 
about  500  pages  each.  Several  plans  are  being 
made]  (1920)  to  facilitate  the  issue  of  the  long- 
awaited  book.     [  R.4  ] 

THAYER,  ARTHUR  WILDER  (b.  1857). 
See  Register,  6. 

THAYER,  WHITNEY  EUGENE  (Dec. 
11,  1838,  Mendon,  Mass.  :  June  27,  1889, 
Burlington,  Vt.),  although  beginning  music- 
study  rather  early,  did  not  pursue  it  seriously 
till  he  came  under  John  K.  Paine's  influence 
and  with  him  was  chosen  to  play  at  the  opening 
of  the  organ  in  Boston  Music  Hall  on  Nov.  2, 
1863.  Two  years  later  he  went  to  Berlin, 
taking  organ  and  counterpoint  with  Haupt 
and  composition  with  Wieprecht.  On  his 
return  to  Boston  he  was  organist  successively 
at  the  Arlington  Street,  HoUis  Street,  Old 
First  Unitarian  and  New  England  Churches, 
and  at  Harvard  Church  in  Brookline.  In 
1881-86  he  was  organist  at  the  Fifth  Avenue 
Presbyterian  Church,  in  New  York.  After 
a  year  at  Holy  Trinity  in  Harlem,  he  gave  up 
church-playing  and  devoted  himself  to  teach- 
ing and  composition.  He  gave  many  organ- 
recitals  in  America  and  abroad,  beginning  a 
long  series  in  Boston  in  1868.  An  enthusiast 
for  the  improvement  of  church-music,  he  gave 
many  lectures,  edited  'The  Organist's  Journal 
and  Review'  and  'The  Choir  Journal  and 
Review,'  and  conducted  the  Boston  Choral 
Union  and  the  New  England  Church-Music 
Association.  Among  his  pupils  were  Edward 
Fisher,  Chadwick,  J.  W.  Andrews,  Sumner 
Salter,  Gerrit  Smith  and  W.  C.  Gale.  He 
received  the  degree  of  Mus.D.  from  Oxford 
University.  Among  his  compositions  are  a 
Festival  Cantata  for  soli,  eight-part  chorus 
and  orchestra,  a  Mass  in  E-flat,  a  fugue  for 
organ,  five  organ-sonatas,  organ-variations 
(two  performers)  'on  the  Russian  National 
Hymn ;  many  detached  organ-pieces ;  songs 
and  part-songs ;  and  a  School  of  Organ-Playing, 
5  parts.  His  private  organ-studio  in  Boston, 
opened  in  1875,  was  one  of  the  first  of  its  kind 
in  the  country.     [  R.5  ] 

THAYER,  WILLIAM  ARMOUR  (b.  1874). 
See  Colleges,  3  (Adelphi  C,  N.  Y.). 

THEODORINI,  HELENA  (b.  1862).  See 
Register,  8. 

THIBAUD,  JACQUES  (Sept.  27,  1880, 
Bordeaux,  France).  See  article  in  Vol.  v.  83. 
His  first  visit  to  America  was  in  1903,  and  he 
has  repeatedly  come  again,  appearing  with 
leading  orchestras  and  in  ensemble,  especially 
in  conjunction  with  Harold  Bauer.     [  R.9  ] 


THOMAS,  ISAIAH  (1749-1831),  See  Reg- 
ister, 2,  and  Tune-Books,  1786. 

THOMAS,  JOHN  ROGERS  (1829-1896). 
See  Register,  4. 

THOMAS,  THEODORE  (Oct.  11,  1835, 
Esens,  Germany  :  Jan.  4,  1905,  Chicago). 
See  article  in  Vol.  v.  88,  with  many  additional 
data  in  iv.  801-3.  Upton,  Theodore  Thomas, 
a  Musical  Autobiography,  2  vols.,  1905,  is  a 
notable  memorial.  The  second  volume  gives 
concert-programs  from  1855  (the  Mason- 
Thomas  Soirees)  to  1905  (the  Chicago  Or- 
chestra series) .  There  is  also  a  long  list  of  the 
works  which  he  introduced  in  America.  Rose 
Fay  Thomas,  Metnories  of  Theodore  Thomas, 
1911,  also  sheds  much  light  upon  his  character 
and  career.  The  original  title  of  the  Chicago 
Orchestra  was  resumed  in  1913.     [  R.4  ] 

THOMAS  ORCHESTRA,  THE.  See  Vol. 
iv.  801-3,  and  references  in  preceding  article. 

THOMPSON,  ALEXANDER  STEWART 
(b.  1859).     See  Colleges,  3  (Ohio  U.). 

THOMPSON,  JOHN  WINTER  (b.  1867). 
See  Register,  8. 

THOMS,  WILLIAM  M.  (1852-1913).  See 
Register,  5. 

t  THOMSON,  CfiSAR  (Mar.  18,  1857, 
Li^ge,  Belgium).  See  article  in  Vol.  v.  89. 
He  visited  America  in  1894-95.  Since  1914 
he  has  been  teacher  of  violin  at  the  Paris 
Conservatory.  He  has  edited  collections  of 
early  Italian  violin-music,  has  composed  a 
Fantaisie  on  Hungarian  themes  for  violin  and 
is  author  of  a  violin-method  (1913). 

THOMSON,  SAMUEL.  See  Tune-Books, 
1810. 

THUNDER,  HENRY  GORDON  b.  (1865). 
See  Register,  7. 

THURBER,  JEANNETTE,  n6e  Meyer. 
See  Register,  7. 

THURSBY,  EMMA  CECELIA  (Feb.  21, 
1854,  Brooklyn,  N.  Y.).  See  article  in  Vol. 
V.  99.  Her  first  public  appearance  was  at 
Bedford  Church  in  Brooklyn,  with  Gilmore's 
Band.  After  a  successful  tour  she  then  became 
soloist  at  the  Broadway  Tabernacle  in  New 
York  at  a  salary  of  $3000.  Later  tours  and 
her  trip  to  Europe  in  1878  were  under  the 
management  of  Maurice  Strakosch.  In  1896 
she  began  her  career  in  New  York  as  teacher 
of  singing.  She  is  at  work  upon  an  auto- 
biography, which  is  to  include  a  study  of  her 
method  of  voice-development.     [  R.6  ] 

JTIERSOT,  JEAN  BAPTISTE  fiLIS^E 
JULIEN  (July  5,  1857,  Bourg-en-Bresse, 
France).  See  article  in  Vol.  v.  103-4.  Since 
1909  he  has  been  chief  librarian  of  the  Paris 
Conservatory,  succeeding  Weckerlin.  "  To  the 
list  of  works  add  /.  /.  Rousseau,  1912  (in 
Maitres  de  la  Musique). 

TIMM,  HENRY  CHRISTIAN  (1811- 
1892).     See  Register,  3. 


382 


TINEL 


TORRINGTON 


t  TINEL,  EDGAR  (Mar.  27.  1854,  Sinay, 
Belgium  :  Oct.  28,  1912,  Brussels).  See 
article  in  Vol.  v.  112.  From  1909  he  was 
director  of  the  Brussels  Conservatory.  His 
sacred  opera  'Katharina'  was  produced  in 
1909  at  Brussels. 

TIRINDELLI,  PIER  ADOLFO  (b.  1858). 
See  Register,  7. 

TOEDT,  THEODORE  J.  (b.  1853).  See 
Register,  6. 

TOLLEFSEN,  CARL  HENRY  (Aug.  15, 
1882,  Hull,  England),  after  early  education 
in  the  Brooklyn  public  schools,  studied  violin 
in  New  York  with  Lichtenberg,  Kneisel  and 
Schradieck  and  theory  and  composition  with 
Goetschius  and  Goldmark,  graduating  from 
the  Institute  of  Musical  Art  in  1908.  For 
two  years  he  was  a  first  violin  in  the  Sym- 
phony Society.  He  has  taught  in  the  National 
Conservatory,  and  is  now  head  of  the  violin- 
department  of  both  the  Berkeley  Institute 
and  St.  Francis  Xavier  Academy  in  Brooklyn. 
His  wife,  nee  Augusta  Schnabel,  was  trained 
as  pianist  by  Katha  Widmann  in  Frankfort, 
and  by  Gallico  and  Godowsky  in  New  York, 
making  her  debut  in  1906  with  the  Symphony 
Society,  and  later  appearing  with  the  Phil- 
harmonic Society,  the  Scandinavian  Symphony 
Orchestra  (of  which  her  husband  is  leader)  and 
the  Kneisel  Quartet.  In  1909  the  Tollefsen  Trio 
was  formed,  in  which  Michael  Penha  is  'cellist, 
with  Mr.  and  Mrs.  Tollefsen  as  violinist  and 
pianist  respectively.  The  Trio  has  toured  in 
almost  all  parts  of  the  United  States.     [  R.9  ] 

TOLMAN,  CARL  JEAN  (b.  1875).  See 
Colleges,  2  (Coker  C,  S.  C). 

TOMLINS,  J.     See  Tune-Books,  1810. 

TOMLINS,  WILLIAM  LAWRENCE  (Feb. 
4,  1844,  London,  England),  as  a  choir-boy  was 
a  pupil  of  Macfarren  and  Silas.  He  became 
one  of  the  managers  of  the  London  Tonic 
Sol-fa  College  in  1864.  In  1870  he  came  to 
America,  in  1875  located  in  Chicago  and 
became  director  of  the  Apollo  Club,  then  a 
men's  chorus  of  sixty  voices.  He  was  in- 
strumental in  the  change  of  the  Club  into  a 
mixed  chorus  of  ultimately  400  voices,  and 
under  his  direction  many  excellent  per- 
formances were  given.  His  connection  with 
the  Club  ceased  in  1898.  In  18S3  he  began 
organizing  classes  of  school-children  for  chorus 
singing,  and  made  a  specialty  of  this  work 
and  of  training  teachers  of  school-music. 
In  1903  he  established  at  Chicago  the  National 
Training  School  for  School  Music  Teachers, 
and  was  engaged  by  the  Chicago  Board  of 
Education  as  musical  instructor  for  teachers 
in  the  grade  schools.  He  returned  to  London 
in  1910.  He  is  author  of  Children's  Songs 
and  How  to  Sing  Them,  1885.     [  R.6  ] 

TONNING,  GERARD  (b.  1860).  See  Reg- 
ister, 7.   . 


TORONTO  CONSERVATORY  OF  MU- 
SIC, THE,  was  founded  by  Edward  Fisher 
in  1886  and  opened  in  1887,  being  the 
first  of  its  class  in  Canada.  Dr.  Fisher  re- 
mained its  efficient  head  until  his  death  in 
1913,  and  was  then  succeeded  by  Augustus 
S.  Vogt.  The  institution  was  successful  from 
the  start,  and  has  gone  on  expanding  till  it 
now  is  the  largest  music-school  in  the  British 
Empire.  Including  its  preparatory  depart- 
ment, its  faculty  numbers  150  members. 
Since  1916  its  enrollment  has  run  considerably 
over  3000,  not  counting  a  still  larger  number 
who  take  examinations  under  its  auspices 
elsewhere  in  Canada.  In  1897  it  bought  a 
large  tract  of  land  near  Queen's  Park,  where 
a  series  of  buildings  have  been  erected,  in- 
cluding a  recital-hall  and  a  dormitory  for 
women.  From  1896  till  1918  it  was  so  related 
to  the  University  of  Toronto  that  the  degrees 
of  Mus.  B.  and  Mus.  D.  were  accessible  under 
the  latter's  strict  system.  The  departments 
of  instruction  comprise  the  voice  and  all 
standard  instruments,  elocution,  artistic  danc- 
ing, kindergarten  methods,  tuning,  and  four 
foreign  languages.  The  work  in  piano,  organ 
and  theory  has  always  been  notably  strong. 
Special  attention  is  given  to  the  teaching  of 
young  children,  and  to  training  teachers  for 
them.  But  facilities  are  ample  for  attaining 
advanced  musicianship  and  virtuoso  expe- 
rience. Various  forms  of  certificate  and 
diploma,  in  both  teachers'  and  artists'  courses, 
with  many  scholarships  and  prizes,  are  pro- 
vided. The  equipment  includes  110  pianos, 
3  organs  (that  in  the  hall  having  three  manuals 
and  41  stops),  some  orchestral  instruments 
and  a  library  of  650  volumes.  The  student 
orchestra  numbers  50.  The  Conservatory 
maintains  twelve  branches  in  Toronto.  Since 
1898  it  has  also  provided  standardized  local 
examinations  in  several  subjects  at  an  in- 
creasing number  of  other  places  outside.  This 
system  has  lately  been  extended  so  as  to  apply 
to  students  in  schools  and  colleges  who  cannot 
work  so  intensively  as  others.  In  1919  over 
100  centers  for  such  examinations  were  listed, 
besides  25  schools,  mostly  in  Ontario,  but  as 
far  as  Quebec  on  the  east  and  Vancouver  on 
the  west.  Nearly  4000  pupils  apply  for  these 
examinations  annually. 

'TORQUIL.'  An  opera  by  Charles  A.  E. 
Harriss,  produced  in  Montreal  in  1896. 

TORRINGTON,  FREDERICK  HER- 
BERT (Oct.  20,  1837,  Dudley,  England  : 
Nov.  20,  1917,  Toronto,  Ont.),  was  an  articled 
pupil  of  James  Fitzgerald  at  Kidderminster, 
studying  piano,  organ  and  theory.  His  first 
appointment  as  organist  was  at  St.  Anne's 
in  Bewdley.  In  1856  he  came  to  Canada, 
and  in  1857-69  was  organist  of  St.  James 
Street  (M.  E.)  Church  in  Montreal,  where  he 


TOSCANINI 


TOVEY 


383 


built  up  a  reputation  as  organ-recitalist, 
violinist  and  conductor.  At  the  Boston 
Peace  Jubilee  in  1869  he  was  leader  of  the 
Canadian  Orchestra.  For  four  years  he 
remained  in  Boston  as  organist  at  King's 
Chapel,  teacher  in  the  New  England  Con- 
servatory, violinist  and  conductor  of  choral 
societies.  In  1873  he  went  to  Toronto  as 
organist  at  the  Metropolitan  Methodist 
Church  (a  position  he  held  for  34  years)  and 
conductor  of  the  Toronto  Philharmonic 
Society.  In  1886  he  arranged  the  first  local 
festival,  presenting  'Israel  in  Egypt,'  'Mors 
et  Vita'  and  other  large  works.  In  1888  he 
founded  the  Toronto  College  of  Music,  now 
af&liated  with  the  University  of  Toronto. 
As  principal  of  this  school,  and  in  many  other 
ways,  he  aided  in  the  introduction  and 
popularization  of  good  music  in  Canada.  In 
1892  he  became  president  of  the  Canadian 
Society  of  Musicians.  In  1903  he  was  as- 
sociated with  A.  C.  Mackenzie  as  conductor 
of  a  notable  festival.  The  University  of 
Toronto  conferred  upon  him  the  honorary 
degree  of  Mus.D.  His  compositions  included 
organ-pieces,  services,  songs  and  choruses. 
[  R.4  ] 

TOSCANINI,  ARTURO  (Mar.  25,  1867. 
Parma,  Italy),  was  educated  in  the  Musical 
Academy  of  Parma  (now  Conservatory), 
studying  'cello  with  Carini  and  theory  with 
Ferrari  and  Dacci.  Obtaining  the  first  prize 
for  'cello  at  graduation,  he  played  in  orchestras, 
and  in  1886  finally  drifted  to  Rio  de  Janeiro. 
The  incompetence  of  a  conductor  led  to  his 
unexpected  debut  in  this  capacity  on  the 
second  night  of  his  engagement.  On  his 
return  to  Italy  he  again  played  in  orchestras, 
but  was  soon  engaged  as  conductor  at  the 
Teatro  Regio  in  Turin.  He  then  conducted 
successively  at  Treviso,  Bologna,  Genoa 
and  La  Scala  in  Milan  in  1898.  In  1898  he 
came  to  the  Metropolitan  Opera  House  in 
New  York,  as  chief  conductor.  Resigning  in 
April,  1915,  he  returned  to  Italy,  and  during 
the  war  lent  his  energies  to  the  musical  en- 
couragement of  patriotism  and  the  relief  of 
distressed  musicians.  In  1916-18  he  gave 
series  of  operatic  and  open-air  performances 
at  the  Dal  Verne  Theater,  the  Arena  and  the 
Verdi  Conservatory  in  Milan,  which  yielded 
large  sums  for  worthy  causes.  For  his  leader- 
ship of  an  army-band  at  Monte  Santo  he  was 
awarded  a  silver  medal.  In  the  summer  of 
1919  he  conducted  festival  performances, 
including  several  of  Beethoven's  9th  Sym- 
phony, at  Turin  and  Milan.  During  his 
years  at  the  Metropolitan  he  conducted 
Italian,  German,  French  and  Russian  operas, 
all  with  impressive  success.  He  introduced 
in  America  Puccini's  'Le  Villi'  (1908),  Cata- 
lani's  'La  Wally'    (1909),   Franchetti's  'Ger- 


mania'  (1910),  Gluck's  'Armide'  (1910), 
Dukas'  'Ariane  et  Barbe-bleu'  (1911),  Wolf- 
Ferrari's  'Le'Donne  Curiose'  (1912),  Mussorg- 
sky's 'Boris  Godunov'  (1913),  Wolf-Ferrari's 
'L'Amore  Medico'  (1914)  and  Montemezzi's 
'L'Amore  dei  Tre  Rh'  (1914).  He  also 
conducted  there  the  premieres  of  Puccini's 
'La  Fanciulla  del  West'  (Dec.  10,  1910)  and 
Giordano's  'Madame  Sans-G6ne'  (Jan.  25, 
1915).  He  conducted  nothing  but  opera  in 
New  York  with  the  exception  of  two  notable 
concerts  in  April,  1913,  when  he  twice  gave 
Wagner's  'Faust'  Overture,  Strauss'  'Till 
Eulenspiegel'  and  the  9th  Symphony,  In 
Italy  he  has  been  equally  prominent  as  sym- 
phonic and  operatic  conductor.  His  near- 
sightedness has  led  to  reliance  upon  a  mar- 
velous musical  memory,  and  he  conducts 
the  most  complicated  scores  without  book. 
[  R.9  ] 

t  TOSTI,  FRANCESCO  PAOLO  (Apr.  9, 
1846,  Ortona,  Italy  :  Dec.  3,  1916,  Rome). 
See  article  in  Vol.  v.  131-2.  After  1913  he 
lived  in  Rome. 

TOURJ^E,  EBEN  (June  1,  1834,  War- 
wick, R.  I.  :  Apr.  12,  1891,  Boston).  See 
article  in  Vol.  v.  134.  Without  being  highly 
trained  as  a  musician,  his  ability  and  en- 
thusiasm as  organizer  made  him  influential 
and  valuable,  especially  in  establishing  the 
New  England  Conservatory.  In  1879  he 
recommended  L.  W.  Mason  as  head  of  music- 
work  in  the  schools  of  Japan  and  helped  form 
the  plans.  In  1876  he  was  the  first  president 
of  the  M.  T.  N.  A.  He  was  one  of  the  musical 
editors  of  the  Methodist  Hymnal  of  1878.  For 
a  time  he  was  managing-editor  of  '  The  Musical 
Herald.'  His  degree  of  Mus.D.  was  from 
Wesleyan  University.     [  R.4  ] 

TOURRET,  ANDRfi  (b.  1882).  See  Reg- 
ister, 10. 

t  TOVEY,  DONALD  FRANCIS  (July  17, 
1875,  Eton,  England).  See  article  in  Vol.  v. 
137.  He  studied  for  several  years  with  Parry, 
and  gratefully  acknowledges  his  indebtedness 
for  his  advice  and  assistance.  In  1914  he 
succeeded  Niecks  at  the  University  of  Edin- 
burgh, and  in  1916  organized  the  Reid  Or- 
chestra, giving  university-students  the  chance 
to  play  with  professionals.  The  result  is 
the  now  well-established  series  of  orchestral 
concerts.  To  the  Ust  of  works  add  the  follow- 
ing: 

Symphony  in   D,   op.   32   (1913,   Aix-la-Chapelle, 

1915,  London). 
'Sonata  Eroica,'  in  C,  for  violin  alone  (Schott). 
Sonata  in  D,  for  'cello  alone  (Schott). 
Sonata  in  G,  for  two  'cellos.        '• 
Trio  in  D,  for  piano,  violin  and  'cello  (Schott). 
Variations  on  a   theme  from  Gluck,  for  flute  and 

string-quartet  (Schott). 
Opera,    'The    Bride   of   Dionysus,'    in   three   acts, 

text  by  R.  C.  Trevelyan  (Longmans,  1913). 


384 


TOVEY 


TRUNK 


He  contributed  over  forty  articles  on  musical 
subjects  to  the  11th  edition  of  the  Encyclo- 
pcBdia  Britannica. 

TOVEY,  HENRY  D.  See  State  Uni- 
versities (Ark.). 

TOWERS,  JOHN  (b.  1836) .    See  Register,  8. 

TOWNER,  CLEM  A.  (b.  1883).  See  Col- 
leges, 2  (Oxford  C,  Ohio). 

TRACY,  JAMES  MADISON  (b.  1839). 
See  Register,  5. 

TRAETTA,  FILIPPO  (Jan.  8,  1777,  Ven- 
ice, Italy  :  Jan.  9,  1854,  Philadelphia), 
was  the  son  of  the  composer  Tommaso  Traetta 
(see  Vol.  V.  139-40).  He  studied  with  Fenaroli 
and  Perillo  at  Venice  and  with  Piccinni  at 
Naples.  Imprisoned  for  politicaj  reasons,  he 
escaped  from  Italy  and  settled  in  Boston  in 
1799.  After  sojourns  in  New  York  and  Vir- 
ginia, in  1822  he  located  at  Philadelphia  as 
singing-teacher,  and  a  year  later  established 
the  American  Conservatorio.  He  composed 
the  oratorios  'Jerusalem  in  Aflfliction'  (1828) 
and  'Daughter  of  Zion'  (1829);  the  opera 
'  The  Venetian  Maskers ' ;  the  cantatas  '  The 
Christian's  Joy,' '  Prophecy,' '  The  Nativity '  and 
'The  Day  of  Rest';  a  'Washington's  Dead- 
March';  and  published  Vocal  Exercises,  Rudi- 
ments of  the  Art  of  Singing  and  An  Introduction 
to  the  Art  and  Science  of  Music.    [  R.3  ] 

TRAMONTI,  ENRICO  (b.  1876).  See  Reg- 
ister, 9. 

'TREASURED  TOKENS.'  An  opera  in 
two  acts  by  J.  Remington  Fairlamb,  given  at 
the  Chestnut  Street  Theatre  in  Philadelphia 
before  1870. 

TREHARNE,  BRYCESON  (May  30,  1879, 
Merthyr  Tydvil,  Wales),  held  the  firard 
scholarship  at  the  Royal  College  of  Music  in 
London,  where  he  was  a  pupil  of  Stanford, 
Parry,  Walford  Davies,  Dannreuther,  Pauer 
and  FrankHn  Taylor.  In  1900-01  he  taught 
at  the  University  of  Wales  in  Aberystwyth, 
and  then  spent  ten  years  at  the  University 
of  Adelaide,  South  Australia.  In  1908-11 
he  was  director  of  the  Repertory  Theatre 
at  Adelaide,  where  he  not  only  managed  many 
modern  plays  but  also  composed  much  in- 
cidental music.  In  1911  he  came  to  Paris, 
and  later  lived  in  Milan,  Berlin  and  Munich. 
Interned  at  Ruhleben  when  the  war  broke  out, 
he  found  opportunity  to  write  many  songs, 
some  orchestral  music  and  part  of  an  opera. 
When  released  in  1916  he  came  from  England 
to  America,  since  1917  making  his  home  in 
New  York.  Of  his  200  songs  or  more  some 
40  are  now  published,  including  'The  Night,' 
'The  Huguenot,'  'Jeannette,'  'The  Fair  Cir- 
cassian,' 'Invocation,'  'A  Farewell,'  'The 
Aftermath,'  'Dreams,'  'Love's  Tribute,'  'The 
Song  of  France,'  'Renunciation'  and  'A 
Lover's  Prayer.'  He  has  besides  the  two 
cantatas    for    women's    voices    'A    Song    of 


Spring'  and  'England,  my  Mother,'  orchestral 
music  and  two  operas.     [  R.IO  ] 

TREMAINE,  WILLIAM  B.  (1840-1907). 
See  Register,  5. 

TRIO  DE  LUTECE,  THE,  of  New  York,  was 
formed  in  1913,  consisting  of  Georges  BarrSre, 
flute,  Paul  K6fer,  'cello,  Carlos  Salzedo,  harp. 

'  TRIUMPH  OF  BOHEMIA,  THE.'  No.  5 
of  the  'Grove-Plays'  of  the  San  Francisco 
Bohemian  Club,  produced  in  1907.  The 
text  is  by  George  Sterling  and  the  music  by 
Edward  F.  Schneider.  The  scene  is  laid  in 
""  the  redwood  forest  on  a  midsummer-night. 

'TRIUMPH  OF  COLUMBUS,  THE.'  An 
opera  in  five  acts  by  Silas  G.  Pratt,  produced 
in  concert-form  at  the  Quadricentennial 
Columbus  Celebration  in  New  York  in  1892. 

TROOSTWYK,  ISIDORE  (July  3,  1862, 
Zwolle,  Holland),  was  a  pupil  of  Joachim  at 
the  Berlin  Hochschule,  where  he  graduated  in 
1881.  After  tours  in  Holland  in  1881  and  in 
Germany  with  Anton  Schott  the  next  year, 
from  1883  he  taught  violin  at  the  Musiek- 
School  van  Toonkunst  in  Amsterdam  and 
was  concertmaster  of  the  Orkest-Vereeniging, 
changing  in  1888  to  a  similar  post  in  the 
Concertgebouw.  In  1890  he  came  to 
America,  in  1895  becoming  head  of  the  violin- 
department  of  the  Yale  Music  School  and  in 
1902  assistant-professor  there.  He  is  concert- 
master  of  the  New  Haven  Symphony  Or- 
chestra and  the  founder  and  conductor  of  the 
New  Haven  String  Orchestra.     [  R.8  ] 

TROWBRIDGE,  JOHN  ELIOT  (1845- 
1912).     See  Register,  6. 

TRUETTE,  EVERETT  ELLSWORTH 
(Mar.  14,  1861,  Rockland,  Mass.),  had  his 
general  education  at  Phillips  (Andover) 
Academy  and  the  Massachusetts  Institute 
of  Technology.  In  1881  he  graduated  from 
the  New  England  Conservatory  and  was 
given  a  Mus.B.  by  Boston  University  in 
1883.  He  then  had  two  years  of  organ-study 
with  Haupt  in  Berlin,  Guilmant  in  Paris  and 
Best  in  London  and  Liverpool.  Since  1885 
he  has  been  organist  and  teacher  in  Boston, 
from  1897  at  the  Eliot  Church  in  Newton, 
where  he  has  given  more  than  110  cantatas 
with  soloists  and  chorus.  He  was  a  founder  of 
the  A.  G.  O.  and  is  now  dean  of  the  New 
England  Chapter.  He  has  given  over  400 
recitals  throughout  the  country  and  has 
trained  many  players  of  prominence.  He 
has  edited  several  collections,  including 
SchmidCs  Standard  Organ  Collection,  2  vols., 
and  Bach  Pedal-Etudes,  and  has  composed 
an  organ-suite,  op.  29,  'Five  Organ-Pieces 
for  the  Church  Service,'  op.  31,  and  many 
anthems  and  organ-pieces.  He  is  also  author 
of  Organ  Registration,  1919.     [  R.7  ] 

TRUNK,  RICHARD  (b.  1879).  See  Reg- 
ister, 10. 


TUBES 


TUNE-BOOKS 


385 


TUBES,  FRANK  HERBERT  (b.  1853). 
See  Register,  6. 

TUCKER,  HIRAM  G.  (b.  1851).  See  Reg- 
ister, 6. 

TUCKERMAN,  SAMUEL  PARKMAN 
(1819-1890).  See  Register,  4,  and  Tune- 
Books,  1840. 

TUCKEY,  WILLIAM  (1708,  Somerset- 
shire, England  :  Sept.  14,  1781,  Philadel- 
phia), apparently  came  to  New  York  before 
1753.  In  March,  1754,  he  announced  himself 
as  a  'singing-master,'  claiming  to  have  been 
a  vicar-choral  at  Bristol  Cathedral  and  parish- 
clerk  there,  and  offering  to  'amend  the  singing 
in  publick  congregations'  and  to  'set  to 
musick  any  piece  on  any  subject.'  He  taught 
charity-scholars  at  Trinity  Church  and  in  the 
'60s  arranged  special  church-music  with  or- 
chestra. Probably  he  has  the  credit  of  the 
first  performance  in  America  of  the  overture 
and  sixteen  numbers  from  'The  Messiah,' 
which  took  place  on  Jan.  16,  1770  at  Mr. 
Burns'  New  Room.  In  1771  he  solicited 
subscriptions  for  the  publication  of  various 
works.  It  is  not  clear  how  he  was  later 
occupied.  He  was  buried  in  the  grounds  of 
Christ  Church  in  Philadelphia.  See  Sotmeck, 
Concert-Life,  pp.  176-81.     [  R.l  ] 

TUFTS,  JOHN  (1689-1750).  See  Tune- 
Books,  1721?. 

TUFTS,  JOHN  WHEELER  (1825-1908). 
See  Register,  4. 

TUNE-BOOKS.  Throughout  the  17th  cen- 
tury, and  in  many  places  till  long  after  1800, 
the  words  of  congregational  song  in  the 
churches  of  the  Colonies  were  exclusively 
metrical  versions  of  the  Psalms.  What  we 
now  call  '  hymns '  —  verses  not  aiming  to 
metricize  the  prose  of  the  Scripture,  but 
freely  and  originally  composed  —  were  first 
made  popular  in  England  from  1706  by  Isaac 
Watts  and  still  more  abundantly  from  1740 
by  the  Wesleys.  Watts'  hymns  began  to  be 
reprinted  in  America  about  1740,  though 
doubtless  imported  earlier.  After  1750  hymns 
were  gradually  adopted  by  many  churches, 
though  without  displacing  the  Psalms. 

The  music  required  for  both  Psalms  and 
hymns  was  in  general  form  the  same  — 
melodies  in  distinct  phrases  adapted  to  the 
rhythm  and  meter  of  the  few  customary 
verse-types.  Until  nearly  the  end  of  the  18th 
century  the  only  rhythm  used  in  the  American 
churches  was  iambic,  except  for  a  slight 
infusion  of  anapaests  in  a  few  cases.  Trochaic 
rhythm  seems  to  have  been  unrealized,  as  it 
was  in  England  until  Charles  Wesley  revealed 
its  stirring  possibilities.  The  prevailing  stanza 
was  of  four  lines,  though  sometimes  six  or  eight.' 

'  By  far  the  most  frequent  formula  of  syllables  for 
the  lines  was  8-6-8-6  —  the  old  '  ballad-meter '  — 
which  hence  came  to  be  called   'Common   Meter.' 

2c 


Melodies  thus  formed  were  known  as 
'Psalm-Tunes,'  because  originally  used  for 
the  Psalms.  Out  of  this  came  the  general 
term  'Psalmody'  for  the  total  body  of  tunes, 
for  the  practice  or  custom  of  singing  and  also 
in  time  for  the  books  that  served  as  manuals. > 

Until  after  1750  the  tunes  used  were  entirely 
derived  from  English  sources,  and  most  of 
them  were  of  English  origin.  Yet  it  is  to  be 
noted  that  the  music  brought  to  Plymouth 
and  Salem  was  that  contained  in  Ainsworth's 
Psalter  (1612),  which  was  compiled  in  Am- 
sterdam and  included  much  that  differed  from 
the  less  varied  and  vigorous  forms  later 
brought  to  Boston  and  presumably  to  all 
other  places  outside  of  New  England,  which 
was  derived  from  the  musical  editions  of  Stern- 
hold  and  Hopkins'  Psalter  of  1562  or  later.^ 

Though  these  books  provided  a  considerable 
body  of  good  melodies,  the  actual  practice 
of  singing  everywhere  degenerated  or  became 
almost  obsolete  during  the  17th  century, 
owing  to  the  scarcity  of  books  with  music 
and  the  growing  inability  to  use  musical 
notation.  When  the  so-called  'Bay  Psalm 
Book,'  originally  compiled  in  1640,  came 
to  have  tunes  added  in  1690,  their  number  was 
small  and  their  variety  slight. 

About  1720,  perhaps  earlier,  a  few  ministers 
began  to  agitate  for  the  restoration  of  singing 
on  a  systematic  basis.  The  ensuing  con- 
troversy between  'singing  by  rote'  and  'sing- 
ing by  note'  lasted  more  than  a  decade,  but 
was  finally  settled  in  favor  of  the  latter.  This 
led  soon  to  the  setting  up  of  'singing-schools,' 
the  appearance  of  itinerant  'singing-teachers,' 
and  finally  to  a  demand  for  tune-books 
(manuals  of  instruction,  combined  with  a 
selection  of  actual  tunes) .' 

The  extensive  movement  thus  inaugurated 
centered  first  in  New  England,  especially 
Massachusetts  and  Connecticut,  but  spread 
to  New  York  and  Pennsylvania,  and  ulti- 
mately to  the  West  and  South.  The  churches 
most  affected  were  those  called  Congregational 
or  Presbyterian,  but  in  most  cases  the  move- 
ment had  a  general  community  influence. 
At  the  time  of  the  Revolution  and  the  rise  of 
national  feeling  it  was  linked  up  with  secular 

Variants  were  8-8-8-8  or  'Long  Meter,'  6-6-8-6  or 
'Short  Meter,'  and,  rarely,  6-6-6-6-4-4-4-4  or  'Hal- 
lelujah Meter.'  In  certain  usages,  too,  10-10-10-10 
or  'Tens'  was  not  infrequent. 

1  This  term  has  persisted  long  after  Psalmody 
proper  was  in  some  degree  displaced  by  Hymnody. 
With  reference  to  the  music  that  accompanied  both 
one  might  wish  that  there  were  warrant  for  some 
fresh  term  like  'Tunody.' 

'  It  is  unfortunate  that  the  musical  richness  of 
Ainsworth  has  not  been  more  generally  recognized. 
It  contained  39  tunes,  many  of  which  have  decided 
value,  as  they  certainly  have  surprising  vivacity. 

'  An  excellent  summary  of  this  period  is  given  in 
Curwen,  Worship-Music,  1st  series,  under  'New 
England  Psalmody.' 


386 


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singing  of  the  patriotic  type.  It  did  not 
confine  itself  to  'tunes,'  but  expanded  to 
'anthems'  and  'odes.'  Though  the  technical 
art  displayed  by  editors  and  presently  com- 
posers was  often  crude  and  faulty,  the  move- 
ment did  much  to  spread  skill  in  singing,  to 
awaken  popular  interest  in  music  and  to  pre- 
pare the  way  for  more  artistic  enterprises. 
In  many  communities  the  old  'Psalmody' 
occupied  somewhat  the  place  of  folk-song. 

Tunes  were  at  first  printed  from  engraved 
plates.  The  first  use  of  music-type  was  in 
1767,  and  soon  became  common,  though  not 
very  satisfactory  till  after  1800. 

The  subjoined  bibliography  indicates  some- 
thing of  the  enormous  extent  of  the  early  tune- 
book  literature.  It  is  largely  condensed  and 
rearranged  from  Metcalf,  A7nerican  Psalmody, 
1917,  which  in  turn  was  an  extension  of  James 
Warrington,  Short  Titles  of  Books  . .  of  Psalmody, 
1898,  but  includes  matter  from  other  sources. 
Some  lesser  titles  and  many  details  about  edi- 
tions, etc.,  are  omitted.  The  chronological  se- 
quence is  suggested  by  arranging  the  compilers 
according  to  the  date  when  they  entered  the 
field.i 

The  reform  in  singing  was  Bet  on  foot  by  two 
books : 

John  Tufts  (1689-1750),  minister  at  Newburj- 
port.  Introduction  to  the  Art  of  Singing,  1721 
(also  '26-'44),  with  a  peculiar  letter-notation, 
M,  F,  S,  L  (for  mi,  fa,  sol,  la),  on  the  staff  in- 
stead of  notes. 
Thomas  Walter  (1696-1725),  minister  at  Rox- 
bury.  Grounds  and  Rules  of  Music,  1721  (also 
•23-'64). 
Both  of  these  derived  their  tunes  from  Playford. 
From  1760  — 

James  Lyon  (1735-94),  Presbyterian  minister  in 
Philadelphia  in  1764  and  then  in  Nova  Scotia 
and  Maine :  Urania,  Phila.  1762  (also  '67,  '73). 
See  Sonneck,  Hopkinson  and  Lyon,  1905. 

Tunes  in  Three  Parts,  Phila.  1763,  printed  by  An- 
thony Armbruster  (d.  1796). 

Psalm  Tunes  for  Christ  and  St.  Peter's  Churches, 
Phila.  1763. 

Josiah  Flagg  (?1738-94),  pioneer  in  Boston  in  sa- 
cred and  secular  music :  Collection  of  Best  Psalm 
Tunes,  1764  (engraved  by  Paul  Revere) ;  Col- 
lection of  Tansur's  and  Other  Anthems,  1766  — 
both  Boston.  See  Sonneck,  Concert-Life,  p. 
261. 

Psalms  of  David  for  the  Dutch  Reformed  Church, 
New  York,  1767. 

William  Billings  (1746-1800),  an  eccentric  and  illit- 
erate tanner,  with  a  contagious  zeal  for  pro- 
moting social  song  through  popular  instruction 
and  his  own  energetic,  but  unschooled,  efforts 
at  composition :  New  England  Psalm  Singer, 
1770  ;  Singing  Master's  Assistant,  1778  (also  '79, 
'81) ;  Music  in  Miniature,  1779 ;  Psalm  Singer's 
Amusement,  1781 ;  Suffolk  Harmony,  1786 ; 
Continental  Harmony,  1794  —  all  Boston.  All 
but  11  tunes  were  original. 

Andrew  Law  (1748-1821),  self-taught  singing- 
teacher  of  Cheshire,  Conn.,  who  traveled  widely 

1  No  attempt  is  made  to  include  the  German 
hymnody  of  Pennsylvania,  which  was  _  wholly  un- 
connected with  that  of  the  English  Colooies. 


(as  far  as  Baltimore) :  Select  Number  of  Plain 
Tunes,  Boston,  1767  (and  to  75) ;  Select  Har- 
mony, 1778  (also  to  '92) ;  Collection  of  Best  Tunes 
and  Anthems,  1779  (and  to  '82) ;  Musical  Primer, 
New  Haven,  1780  (and  to  1812),  and  Supple- 
ment, 1811;  Collection  of  Hymn  Tunes,  1782 
(and  to  '92);  Rudiments  of  Music,  1783  (and  to 
'93);  Christian  Harmony,  2  vols.,  1794  (and  to 
1805) ;  Musical  Magazine,  6  nos.  1792-1801 
(combined,  1805) ;  Art  of  Singing,  2  vols.  1794- 
96  (and  to  1810) ;  Harmonic  Companion,  Phila. 
1807  (and  to  '19) ;  Art  of  Playing  the  Organ,  1809 
(also  '19)  —  all  first  at  Cheshire  except  as  noted. 
Besides  his  great  activity  as  author  and  compiler. 
Law  was  noted  for  advocating  setting  the  melody 
in  the  soprano  instead  of  tenor,  and  for  experi- 
ments with  'character-notes'  (notes  with  heads 
varying  according  to  their  scale-relation),  at  first 
(about  1800)  with  but  four  varieties,  later  with 
seven,  and  at  first  posited  as  if  upon  a  staff,  but 
without  staff-lines  —  a  curious  device  to  empha- 
size scale-relations  while  avoiding  typographical 
difficulties. 

Essex  Harmony,  Newburyport,  1770,  printed  or 
compiled  by  Bailey,  Part  II,  Salem,  1802. 

John  Stickney  (1744-1827) :  Gentleman's  and  Lady's 
Musical  Companion,  Newburyport,  1774  (and  to 
'83). 

Elias  Mann  (1750-1825),  singing-teacher  at  North- 
ampton,   Mass. :    Northampton    Collection,    1778 
(and  to  1802) ;  Massachusetts  Collection,  Boston, 
1807.     See  also  Albee  below. 
Froml7S0  — 

Simeon  Jocelyn  (1746-1823)  :  Collection  of  Favorite 
Psalm  Tunes,  1780  (also  '87) ;  Chorister's  Com- 
panion, New  Haven,  1782,  with  Amos  Doolittle 
(and  to  '92),  and  Parts  II-III,  1790-}-;  Federal 
Harmony,  Boston,  1793. 

Oliver  Brownson :  Select  Harmony,  New  Haven, 
1783  (also  '91) ;  New  Collection  of  Sacred  Har- 
mony, Simsbury,  1797. 

Daniel  Read  (1757-1836),  comb-maker  and  singing- 
teacher  at  New  Haven  :  American  Singing  Book, 
New  Haven,  1785  (and  to  '93)  and  Supplement, 
1787;  Musical  Magazine,  Vol.  I,  New  Haven, 
1786-7 ;  Introduction  to  Psalmody,  New  Haven, 
1790 ;  Columbian  Harmonist,  Nos.  1-^,  New 
Haven,  1793-1810  (No.  1  also  to  1810)  and  Sup- 
plement ;  American  Musical  Miscellany,  North- 
ampton, 1798 ;  New  Haven  Collection,  Dedham, 
1818. 

Timothy  Swan  (1758-1842),  singing-teacher  in 
Massachusetts  and  Vermont :  Federal  Harmony, 
1785  (and  to  '92) ;  Songster's  Assistant,  Suffield, 
1800 ;  New  ,  England  Harmony,  Northampton, 
1801 ;    Songster's  Museum,  Northampton,  1803. 

Worcester  Collection,  Worcester,  1786,  printed  by 
Isaiah  Thomas  (1749-1831),  the  author  of  a 
notable  History  of  Printing,  1810  (reprinted 
1874). 

Tunes  Suited  to  Psalms  and  Hymns  of  the  Booh  of 
Common  Prayer,  Phila.  1786. 

Andrew  Adgate  (d.  1793),  an  enterprising  promoter 
of  popular  music  in  Philadelphia  through  classes 
and  concerts  under  the  name  of  '  The  Uranian  So- 
ciety' or  'Academy'  (from  1784) ;  Lessons  for  the 
Uranian  Society  and  Uranian  Instructions,  1785- 
7;  Select  Psalms  and  Hymns,  1787;  Rudiments 
of  Music,  1788  (and  to  1803) ;  Selection  of  Sacred 
Harmony,  1788  (and  to  1803  or  later,  edited  by 
Husband).     See  Sonneck,  Concert-Life,  p.  103  ff. 

Chauncey  Langdon  (1764-1830) :  Beauties  of 
Psalmody,  New  Haven,  1786. 

John  Aitken  :  Litanies  and  Vesper  Hymns  and  An- 
thems, Phila.  1787  (also  '91). 


TUNE-BOOKS 


TUNE-BOOKS 


387 


Gamut  or  Scale  of  Music,  Hartford,  1788  (and  to 
1818). 

John  Hubbard  (1750-1810) :  Harmonia  Selecta, 
Worcester,  1789. 

Jacob  French  (b.   1754)  :    New  American  Melody, 
1789;   Psalmodisfs  Companion,  1793;    Harmony 
o/i7armo«2/,  Northampton,  1802. 
From  1790^ 

Asahel  Benham :  Federal  Harmony,  New  Haven, 
1790  (and  to  '95) ;  Social  Harmony,  Walling- 
ford,  1798  (also  '99). 

Thomas  Lee,  Jr. :    Sacred  Harmony,  Boston,  1790. 

William  Young :  Selection  of  Sacred  Harmony, 
Phila.  1790  (also  '94). 

D.  Russ :     Uranian  Harmony,  Phila.   1791. 

Samuel  A.  Holyoke  (17C2-1820),  singing-teacher  in 
eastern  Massachusetts  and  New  Hampshire : 
Harmonia  Americana,  Boston,  1791 ;  Massachu- 
setts Compiler,  Boston,  1795,  with  Holden  below 
and  Hans  Gram  ;  Columbian  Repository,  Exeter, 
1800  or  '02;  Occasional  Music,  Exeter,  1802; 
Christian  Harmonist,  Salem,  1804  ;  Instrumental 
Assistant,  2  vols.  71800-7;  Vocal  Companion, 
Exeter,  1807  ;    etc.     See  also  Kimball  below. 

Oliver  Holden  (1765-1834?),  carpenter,  bookseller 
and  singing-teacher  at  Charlestown,  Mass. : 
American  Harmony,  1792 ;  Union  Harmony,  2 
vols.  1793  ;  Charlestown  Collection,  1803 ;  Plain 
Psalmody,  1800  —  all  Boston.  See  also  Holyoke 
above. 

Baltimore  Collection  of  Sacred  Music,  Balto.  1792. 

Nehemiah  Shumway :  American  Harmony,  Phila. 
1793  (also  1801). 

Jacob  Kimball  (1761-1826),  lawyer  and  then  sing- 
ing-teacher in  Massachusetts :  Rural  Harmony, 
Exeter,  1793 ;  Essex  Harmony,  Exeter,  1800, 
with  Holyoke. 

Joseph  Stone  and  Abraham  Wood  (1752-1804) : 
Columbian  Harmony,  1793. 

John  Asplund  (d.  1807) :  New  Collection,  Balto. 
1793. 

Supply  Belcher  (1751-1836)  :  Harmony  of  Maine, 
Boston,  1794. 

Thomas  H.  Atwell :  New  York  {and  Vermont)  Col- 
lection of  Sacred  Harmony,  1794  (and  to  1805). 

S.  Babcock  :  Middlesex  Harmony,  Watertown,  1795 
(also  1803). 

B.  Dearborn  :    Vocal  Instructor,  1796. 

Daniel  Belknap  (1771-1815)  :  Harmonist's  Com- 
panion, Boston,  1797;  Evangelical  Harmony, 
1800;  Middlesex  Collection,  \S,Q2{a.\so 'OS);  Vil- 
lage Compilation,  Boston,  1806;  Middlesex  Song- 
ster, 1809?. 

D.  Wright :    American  Musical  Miscellany,   1798. 

Truman  S.  Wetmore  (1774-1861)  of  Winchester, 
Conn. :    Republican  Harmony,  1798  (ms). 

Village  Harmony,  Exeter,  1798  (and  often  to  1821). 

William  Little  and  William  Smith  :  Easy  Instructor, 
Albany,  1798  (and  often  to  1831). 

Amos  Pillsbury :  United  Slates  Sacred  Harmony, 
Boston,  1799. 

Jonathan  Benjamin :  Harmonia  Ccelesiis,  North- 
ampton, 1799. 

Solomon   Howe :      Worshipper's  Assistant,  North- 
ampton, 1799  ;   Farmer's  Evening  Entertainment, 
Northampton,  1804  ;  Divine  Hymns,  Greenwich, 
1805. 
From  1800  — 

Andrews :    Plain  Psalmody,  1800. 

Charles  Southgate :  Harmonia  Sacra,  1800  (also 
'18?). 

Merit  N.  Woodruff :  Devotional  Harmony,  1800  (en- 
graved). 

Modern  Collection  of  Sacred  Music,  Boston,  1800. 

Elijah  Griswold :  Connecticut  Harmony,  1800,  with 


Thomas  Skinner ;  Hartford  Collection,  Hartiord, 
1807,  with  Stephen  Jenka  below. 

Stephen  Jenks  (1772-1856),  of  Connecticut  and 
Ohio :  New  England  Harmonist,  New  Haven,  1800 
(also  '03)  ;  American  Compiler,  No.  1,  North- 
ampton, 1803,  with  Griswold  above ;  Delights  of 
Harmony,  New  Haven,  1804  =  Norfolk  Compiler, 
Dedham,  1805 ;  Royal  Harmony  of  Zion,  Ded- 
ham,  1810  =  Union  Compiler,  1818 ;  Zion's 
Harp,  New  York,  1824. 

John  Cole  (1774-1855) :  Episcopalian  Harmony, 
1800  (also '11)  ;  Collection  of  Anthems,  n.  d.;  Col- 
lection of  Psalm  Tunes,  Boston,  1803 ;  Beauties  of 
Psalmody,  1805  (also  '27) ;  Divine  Harmonist, 
1808 ;  Ecclesiastical  Harmony,  1810 ;  Ministrel 
Songs,  1812;  Devotional  Harmony,  1814;  Songs 
of  Zion,  1818 ;  Seraph,  1821  (and  to  '27) ;  Sacred 
Melodies,  Nos.  1-3,  1828 ;  Union  Harmony,  1829 
(character-notes) ;  Laudate  Dominum,  1842  (also 
'47)  —  all  but  one  at  Baltimore. 

Uri  K.  Hill :  Vermont  Harmony,  Northampton, 
1801 ;  Sacred  Minstrel,  Boston,  1806 ;  Handelian 
Repository,  New  York,  1814  ;  Solfeggio  Americano, 
New  York,  1820. 

Warwick  Palfrey  (1787-1838)  ;  Evangelical  Psalm- 
odist,  Salem,  1802. 

Elisha  West :  Musical  Concert,  Northampton,  1802. 

Bartholomew  Brown,  teacher  in  Boston,  in  1832- 
38  conductor  of  the  Handel  and  Haydn  Society : 
Bridgewater  Collection,  Boston,  1802  (and  often  to 
1839,  after  1810  =  7'empH  Carminat),  with  Holt 
and  Mitchell  below ;  Columbian  and  European 
Harmony,  1802-4. 

Abraham  Maxim  (1773-1829) :  Oriental  Harmony, 
Exeter,  1802;  Northern  Harmony,  Hallowell?, 
1804?  (and  to  '16). 

Abijah  Forbush :  Psalmodist's  Assistant,  Boston, 
1803  (also  '06). 

James  Newhall :  Vocal  Harmony,  Northampton, 
1803. 

Benjamin  Holt  (1774-1861)  :  New  England  Sacred 
Harmony,  Boston,  1803.     See  also  Brown  above. 

Walter  Janes  (1779-1827) :  Massachusetts  Har- 
mony, Boston,  1803  ;  Harmonic  Minstrelsy,  Ded- 
ham, 1807. 

Lewis  and  Thaddeus  Seymour :  Musical  Instructor, 
1803?  ;  New  York  Selection  of  Sacred  Music,  New 
York,  1809  (and  to  '16),  with  Lewis  Edaon 
(1748-1820). 

William  Cooper :  Original  Sacred  Music,  Boston, 
1803?  ;  Beauties  of  Church  Music,  Boston,  1804. 
See  also  Sweeney  below. 

Ebenezer  Child :    Sacred  Musician,  Boston,  1804. 

Jeremiah  Ingalls  (1764-1828)  :  Christian  Harmony, 
Exeter,  1805. 

Charles  Robbins :  Columbian  Harmony  or  Maine 
Collection,  Exeter,  1805. 

Rufus  Frost :   Medford  Harmony,  Boston,  1805. 

Samuel  Capen :  Norfolk  Harmony,  Boston,  1805. 

Salem  ColUction  of  Classical  Sacred  Music,  Salem, 
1805. 

Timothy  Olmsted :   Musical    Olio,   Northampton, 

1805  (also  '11). 

Israel  Terril :  Vocal  Harmony,  No.  1,  New  Haven, 
1805?. 

Amoa  Albee  (b.  1772)  :  Norfolk  Collection,  Ded- 
ham, 1805 ;  Columbian  Sacred  Harmonist,  Ded- 
ham, 1808,  with  Mann  above  and  Shaw  below. 

Benjamin  Carr  (1769-1831),  a  versatile  singer  and 
organist  in  Philadelphia :  Masses,  Vespers  and 
Litanies,  1805;  Lessons  in  Vocal  Music,  Balto. 
1811?;  Collection  of  Chants,  Phila.  1816;  Choris- 
ter, Phila.  1820. 

First  Church    Collection  of  Sacred  Music,  Boston, 

1806  (also  '15). 


388 


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Peter  Erban  (1769-1861):  Selection  of  Psalm  and 
Hymn  Tunes,  New  York,  1806. 

Suffolk  Collection  of  Church  Music,  Boston,  1807. 

J.  Bushnell :  Musical  Synopsis,  Northampton, 
1807. 

Middlesex  Collection,  Boston,  1807  (also  to  '11). 

John  Husband  (?1753-1809?)  :  Collection  of  Hymns 
and  Psalms,  Lancaster,  Pa.  1807.  See  also 
Adgate  above. 

J.  Evans :  David's  Companion,  New  York,  1807 
(and  to  '10). 

Amos  Blanchard  :  Newburyport  Collection,  Exeter, 
1807 ;    American  Musical  Primer,  Exeter,   1808. 

Jonathan  Huntington  (1771-1838)  :  Apollo  Har- 
m,ony,  Northampton,  1807 ;  Classical  Music, 
Boston,  1812. 

Charles  Woodward :  Ecclesice  Harmonia,  Phila. 
1807?  (also  '09);  Sacred  Music  in  Miniature, 
Phila.  1812. 

Stephen  Addington  :  Sacred  Music,  Phila.  1807  ?  ; 
Valuable  Selection  of  Psalm  and  Hymn  Tunes, 
Phila.  1808. 

Zedckiah  Sanger  (1748-1820),  minister  from  1776 
at  Duxbury,  Mass.,  from  1788  at  South  Bridge- 
water  :  Meridian  Harmony,  Dedham,  1808. 

George  Hough  :   Modern  Harmony,  1808. 

Trinity  Church  Hymns,  Boston,  1808. 

Joel  Read  (b.  1753)  :  New  England  Selection,  Bos- 
ton, 1808  (also  '12). 

Henry  S.  Keating :    Key  to  Harmony,  Balto.  1808. 

Samuel  Willard  (1776-1859),  minister  at  Deerfield, 
Mass.,  from  1807,  and  author  of  several  hymn- 
books:  Deerfield  CoHcc/to?i,  Northampton,  1808? 
(also  '18)  ;  Regular  Hymns  with  Musical  Direc- 
tions, 1823?. 

Daniel  L.  Peck :  Musical  Medley,  Dedham,  1808 : 
Selection  of  Sacred  Music,  Phila.  1810. 

Oliver  Shaw  (1779-1848),  a  blind  singer  and  sing- 
ing-teacher :  Columbian  Sabred  Harmonist,  Ded- 
ham, 1808,  with  Albee  and  Mann ;  Providence 
Selection,  Dedham,  1815  =  Melodia  Sacra,  Provi- 
dence, 1819;  Social  and  Sacred  Melodist,  Provi- 
dence, 1845. 

Hezekiah  Moors:  Province  Harmony,  Boston,  1809. 

Azariah  Fobes:    Delaware  Harmony,  Phila.   1809. 

Maryland  Selection,  Balto.  1809,  published  by 
Gillet,  Wheeler  &  Co. 

Joel  Harmon  (1773-1833) :  Columbian  Sacred  Min- 
strel, Northampton,  1809  ;  Musical  Primer,  Har- 
risburg,  1814  ?. 

William  Smith :    Churchman's  Choral  Companion, 
New   York,  1809;     Chants  for  Public   Worship, 
1814.     Perhaps  also  see  Little  above. 
From  1810  — 

Collection  of  Sacred  Music  for  West  Church,  Boston, 
1810. 

J.  Tomlins:     Sacred  Music,   No.  1,  Boston,    1810. 

George  C.  Sweeney :  Sacred  Music,  Boston,  1810, 
with  Cooper  above. 

Samuel  Thomson  :  Columbian  Harmony,  Dedham, 
1810. 

Nathan  Chapin  and  Joseph  L.  Dickerson  :  Musical 
Instructor,  Phila.  1810. 

George  E.  Blake  (1775-1871) :  Vocal  Harmony, 
Phila.  1810. 

John  Wyeth  (1770-1858) :  Repository  of  Sacred 
Music,  Harrisburg,  1810  (and  to  '34)  and  Part 
II,  1813  (also  '20). 

Clement  Millard:    United  States  Harmony,  1810?. 

Nahum  Mitchell  (1769-1853),  at  one  time  member 
of  Congress  and  also  Circuit  Judge  in  Massa- 
chusetts :  LXXX  Psalm  and  Hymn  Tunes  or 
Brattle  Street  Collection,  Boston,  1810.  See  also 
Brown  and  Holt  above. 

Benjamin  Leslie:    Concert  Harmony,  Salem,  1811. 


Hollis  Street  Collection  of  Psalm  and  Hymn  Tunes, 
Boston,  1811. 

Francis  C.  Schaffer:  Hymns  Set  to  Music,  Boston, 
1811. 

James  Hewitt :  Harmonia  Sacra,  Boston,  1812. 

'An  American':  Columbian  Harp,  Northampton, 
1812. 

Eli  Roberts:  Hartford  Collection,  New  London, 
1812. 

Evangelical  Songster,  Newburyport,  1812. 

Selection  of  Psalm  Tunes  for  .  .  .  the  Protestant 
Episcopal  Church  in  the  State  of  New  York,  1812?. 

Emanuel  Kent :  David's  Harp,  Balto.  1812  (and 
later). 

Josiah  Holbrook :  American  and  European  Har- 
mony, 1813,  with  David  Pool. 

Solomon  Warriner  (1778-1860):  Springfield  Collec- 
tion, Springfield,  1813.     See  also  Hastings  below. 

Japhet  C.  Washburn  :  Parish  Harmony  or  Fairfax 
Collection,  1813?;  Temple  Harmony,  1818?  (also 
'21?). 

Freeman  Lewis  (1780-1859) :  Beauties  of  Harmony, 
1813?  (also  '16). 

William  Bull  (1762-1842) :  Music  Adapted  to  Lan- 
guage, 1813?. 

Portsmouth  Collection  of  Sacred  Music,  Exeter,  1814. 

John  Hubbard  :  Volume  of  Sacred  Music,  Newbury- 
port, 1814. 

Select  Harmony,  Boston,  1815  (also  '17),  being  Part 
IV  of  Samuel  Worcester's  Christian  Psalmody 
(collection  of  psalms  and  hymns). 

Edward  Hartwell :  Chorister's  Companion,  Exeter, 
1815. 

Isaac  P.  Cole :  Third  Presbyterian  Church  Collec- 
tion, Phila.  1815;  Pocket  Edition  of  Psalm  and 
Hymn  Tunes,  New  York,  1834  (and  to  '39). 

John  Armstrong :  Pittsburg  Selection  of  Psalm 
Tunes,  Pittsburg,  1816. 

Timothy  Flint  (1780-1840),  minister  at  Lunenburg, 
Mass.,  till  1815  and  then  missionary^in  the  West: 
Columbian  Harmonist,  Cincinnati,  1816  (charac- 
ter-notes). 

T.  D.  Baird:  Science  of  Praise,  Zanesville,  O., 
1816. 

George  K.  Jackson  (1745-1823),  an  organist  from 
England  who  was  active  in  several  Boston 
churches :  Choice  Collection  of  Chants,  Boston, 
1816;  C/ioroZ  Compa?iion,  Boston,  1817.  Earlier 
works  in  England.  It  was  Jackson's  approval 
that  secured  the  publication  of  Lowell  Mason's 
first  collection  under  the  auspices  of  the  Handel 
and  Haydn  Society. 

J.  Eckhard:    Choral  Book,  Boston,  1816. 

Thomas  Hastings  (1787-1872),  the  chief  pioneer  in 
developing  choral  singing  and  instruction  in  New 
York  State,  first  at  Utica  and  from  1832  in  New 
York  City  :  Musica  Sacra  or  Springfield  and  Utica 
Collections  Combined,  Utica,  1816  (and  often  to 
'38),  with  Warriner  above  and  Seth  Norton  (d. 
1818) ;  Musical  Reader,  Utica,  1817  (also  '19) ; 
Spiritual  Songs  for  Social  Worship,  Utica,  1831, 
with  Mason  below ;  Union  Minstrel,  Phila.  1834  ; 
Musical  Miscellany,  2  vols,  (from  his  'Musical 
Magazine'),  New  York,  1830;  Manhattan  Col- 
lection, New  York,  1836 ;  Sacred  Lyre,  New  York, 
1840  ;  Psalmodist,  New  York,  1844,  with  Brad- 
bury below  (also  the  next  three) ;  Choralist,  New 
York,  1847  ;  Mendelssohn  Collection,  New  York, 
1849;  Psalmista,  New  York,  1851;  Selah,  New 
York,  1856,  with  his  son  Thomas  S.  Hastings 
(1827-1911) ;  Church  Melodies,  New  York,  1859, 
with  the  same.  Hastings  was  besides  an  indus- 
trious and  fairly  able  writer  of  hymns  (see  Julian, 
Diet,  of  Hymnology  and  Benson,  The  English 
Hymn),  which  appeared  first  in  Spiritual  Songs, 


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589 


1831,  in  The  Mother's  Hymn  Book,  1834,  in  The 
Christian  Psalmist,  1836,  in  Devotional  Hymns 
and  Religious  Poems,  1850,  etc.  He  also  pub- 
lished a  Dissertation  on  Musical  Taste,  1822  (also 
'53) ;  History  of  Forty  Choirs,  1854 ;  Sacred 
Praise,  New  York,  1856.  He  was  Mason's  spe- 
cial coadjutor  in  the  movement  for  improving 
church  music,  sharing  in  the  latter's  high  ideals, 
though  with  less  technical  equipment. 

Ezekiel  Goodale  (b.  1780) :  Hallowell  Collection, 
Hallowell,  Me.  1817  (also  '19). 

Collection  of  Sacred  Music  for  Churches  which  Sing 
without  a  Choir,  New  York,  1817?. 

J.  W.  Nevius:  New  Brunswick  Collection,  New 
Brunswick,  N.  J.,  1817  (and  to  '40),  with  Corne- 
lius Vanderventer  and  John  Frazee. 

Samuel  L.  Metcalfe  (1798-1856),  professor^  of 
Chemistry  in  Transylvania  University,  Lexing- 
ton, Ky. :  Kentucky  Harmonist,  18177  (and  to 
'26). 

E.  Riley:   Sacred  Melodies,  1817?. 

Samuel  Dyer  (1785-1835)  :  New  Selection  of  Sacred 
Music,  Balto.  1817  (and  to  '28  or  later) ;  Selec- 
tion of  Anthems,  Balto.  1817  (and  to  '51,  then 
edited  by  his  son,  Samuel  O.  Dyer) ;  Philadel- 
phia Selection  of  Sacred  Music,  New  York,  1828. 

I.  Gerhart  and  J,  F.  Eyer :  Choral  Harmonic,  1818 
(also  '22). 

New  Haven  Collection,  Dedham,  1818. 

Francis  D.  Allen :  New  York  Selection  of  Sacred 
Music,  1818  (and  to  '33)  :  Selection  of  Sacred 
Music  for  the  Dutch  Reformed  Church,  New  York, 
1818?. 

Old  Colony  Collection,  2  vols.,  Boston,  1818-19? 
(also  '23). 

Valuable  Collection  of  Sacred  Music,  Exeter,  1818. 

Jonathan  Mayhew  Wainwright  (1792-1854),  Epis- 
copal minister  of  English  birth,  but  graduated  at 
Harvard,  from  1819  settled  in  New  York  :  Set  of 
Chants,  Boston, 1819;  Music  of  the  Church,  New 
York,  1828  (also  '50) ;  Psalmodia  Evangelica, 
1838. 

Arthur  Clifton :  Original  Psalm  Tunes,  Balto. 
1819. 

James  M.  Winchell  (1791-1820),  Baptist  minister 
in  Boston  from  1814,  and  compiler  of  an  edition 
of  Watts'  hymns :  Sacred  Harmony,  Boston,  1819. 
From  1820  — 

James  P.  Carroll:    Songs  of  Zion,  1820?. 

Henry  Little :  Wesleyan  Harmony,  Hallowell,  Me. 
1820  (also  '21). 

Ephraim  Reed :  Musical  Monitor,  Ithaca,  N.  Y. 
1820  (and  to  '27). 

Wesleyan  Selection  of  the  John  Street  Church,  New 
York,  1820. 

Methodist  Harmonist,  New  York,  1821   (also  '28). 

C.  C.  Abbott :  Young  Convert's  Pocket  Companion, 
Boston,  1822. 

Lowell  Mason  (1792-1872) :  Boston  Handel  and 
Haydn  Society  Collection  of  Church  Music,  2 
vols.,  Boston,  1822  (and  often  later) ;  Lyra  Sacra, 
1832 ;  Choir  or  Union  Collection,  1833 ;  Boston 
Academy's  Collection,  3rd  ed.,  1835;  Occasional 
Psalmody ,  1837  ;  Songs  of  Asaph,  1838;  Seraph, 
1838  ;  Boston  Anthem  Book,  1839 ;  Modern  Psalm- 
ist, 1839  ;  Carmina  Sacra,  1841 ;  Boston  Academy 
Collection  of  Choruses,  1844 ;  Psaltery,  1845 ; 
National  Psalmist,  1848  ;  Cantica  Laudis,  1850  ; 
Boston  Chorus  Book,  1851 ;  New  Carmina  Sacra, 
1852  —  his  most  successful  book ;  Home  Book  of 
Psalmody,  1852  ;  Hallelujah,  1854  ;  besides  about 
15  books  for  children  and  perhaps  half  as  many 
collections  of  secular  glees  and  part-songs.  Sev- 
eral of  the  above  were  edited  jointly  with  George 
J.  Webb  below ;  see  also  Hastings  above.     As  to 


the  significance  of  Mason  and  his  colleagues,  see 
statement  at  the  close  of  this  article,  Htmn- 
BooKS,  and  individual  article. 

Nathaniel  D.  Gould  (1781-1864),  singing-teacher 
in  Massachusetts  and  New  Hampshire,  teacher 
of  penmanship,  and  author  of  an  interesting, 
but  slender  History  of  Church  Music  in  America, 
Boston,  1853:  Social  Harmony,  Boston,  1822; 
National  Church  Harmony,  Boston,  1832 ;  Sacred 
Minstrel,  1840. 

Absalom  Peters  (1793-1869) :  Sacred  Music, 
1823. 

Ailing  Brown :  Gamut,  New  Haven,  1823  ;  Musical 
Cabinet  or  New  Haven  Collection,  New  Haven, 
1824  (also  '30). 

Massachusetts  Collection,  Greenfield,  1823. 

Thomas  Loud  [Jr.] :   Psalmist,  Phila.  1824. 

S.  D.  Puller:  Small  Collection  of  Sacred  Music, 
Harrisburg,  1825. 

Allen  D.  Garden :  Missouri  Harmony,  1827  (char- 
acter-notes). 

Stoughton  Collection,  1828,  issued  by  the  Musical 
Society  of  Stoughton,  Mass. 

Elam  Ives,  Jr.  (1802-64) :  American  Psalmody, 
Hartford,  1829  (also  '30),  with  Deodatus  Dutton. 
From  1830  — 

Samuel  F.  Bradford :  Music  of  the  Church,  Phila. 
3rd  ed.  1830. 

Psalmist  or  Chorister's  Companion,  Boston,  1831. 

Joshua  Leavitt  (1794-1873),  lawyer  in  New  York 
and  later  editor  of  '  The  Evangelist '  and  '  The  In- 
dependent'  :  Christian  Lyre,  New  York,  1831, 
and  Supplement,  which  introduced  the  practice 
of  printing  the  hymns  in  full  in  conjimction  with 
the  tunes.     See  Htmn-Books. 

William  B.  Snyder  and  W.  L.  Chappell :  Western 
Lyre,  1831  (character-notes). 

Henry  E.  Moore  (1803-41) :  New  Hampshire  Col- 
lection, Concord,  1832  (andi  later)  and  Supple- 
ment, 1834 ;  Choir  ;  Collection  of  Anthems, 
Choruses  and  Set  Pieces ;   Northern  Harp. 

Christian  Psalmody,  printed  by  Barrett  &  Coleman, 
N.  H.  1832. 

Abner  Jones:  Melodies  of  the  Church,  New  York, 
1832 ;    Temple  Melodies,  New  York,  1840. 

Charles  Zeuner  (1795-1857),  a  Saxon  who  came  to 
Boston  in  1824,  was  organist  of  the  Handel  and 
Haydn  Society  in  1830-37  and  of  Park  Street 
Church,  and  from  1854  organist  in  Philadelphia : 
American  Harp,  Boston,  1832 ;  Ancient  Lyre, 
Boston,   1842?. 

James  W.  Palmer :  Western  Harmonia  Companion, 
1832  (character-notes). 

Abraham  Dow  Merrill  (1796-1878) :  Wesleyan 
Harp,  Boston,  1834,  with  W.  C.  Brown  ;  Vestry 
Harp,  1845. 

Robert  Willis :  Lexington  Cabinet,  Lexington,  Ky. 
1834  (character-notes). 

Timothy  B.  Mason :  Ohio  Sacred  Harp,  1834  (at 
first  in  character-notes) ;  Sacred  Harp  or  Eclectic 
Harmony,  Vol.  i,  18th  ed.  Boston,  1836. 

Thomas  Whittemore  (1800-61),  from  1820  Uni- 
versalist  minister  at  Milford,  Mass.,  and  Cam- 
bridge, later  prominent  in  business  and  political 
life  and  author  of  many  religious  books  :  Songs 
of  Zion,  1836 ;  Gospel  Harmonist,  1841 ;  as  well 
as  juvenile  collections. 

W.  Nash  :  Sacred  Harmony,  1836. 

Occasional  Psalm  and  Hymn  Tunes,  Boston,  1838. 

Joseph  Muenscher:  Church  Choir,  Columbus  O. 
1839. 

Benjamin  Sweetzer,  Jr.:  Cumberland  Collection  of 
Church  Music,  1839. 

David  Paine  :  Portland  Sacred  Music  Society's  Col- 
lection of  Church  Music,  Portland,  Me.  1839. 


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George  Kingsley  (1811-84) :  Harp  of  David,  New 
York,  183-?;  Sacred  Choir,   1839;    Sacred  Har- 
monist;  Templi   Carmina,  Northampton,    1853; 
besides  several  juvenile  books. 
From  1840  — 

George  J.  Webb  (1803-87),  an  Englishman  who 
became  organist  of  the  Old  South  Church  in 
Boston  in  1830  and  coworker  with  Mason  in 
various  enterprises,  including  the  foundation  of 
the  Boston  Academy  in  1833  and  the  editing  of 
'The  Musical  Library'  in  1835-36,  was  con- 
ductor of  the  Handel  and  Haydn  Society  in 
1840-43  and  an  influential  teacher  till  1870,  when 
he  removed  to  Orange,  N.  J.  and  taught  in  New 
York  for  some  years :  Massachusetts  Collection 
of  Psalmody,  Boston,  1840  ;  Cantica  Ecclesiastica, 
Boston,  1859 ;  besides  several  juvenile  text-books 
and  collections.     See  also  Lowell  Mason  above. 

Ancient  Harmony  Revived,  Boston,  1840  (and  to  '66). 

Hiram  May:   Harp,  Perry,  Me.,  1840?. 

J.  H.  Hickok :   Social  Lyrist,  Harrisburg,  1840. 

Thomas  Comer,  who  founded  the  Musical  Fund 
Society  in  Boston  in  1847 :  Boston  Musical  In- 
stitute's Collection  of  Church  Music,  1841. 

Sylvanus  Billings  Pond  (1792-1871),  at  first  an  in- 
strument-maker at  Albany,  from  1832  in  New 
York,  entering  the  business  later  known  as  Wm. 
A.  Pond  &  Co. :  United  States  Psalmody,  New 
York,  1841. 

Asa  Fitz  and  E.  R.  Dearborn :  Vestry  Singing 
Book,  Boston  and  New  York,  1841.  Fitz  issued 
many  other  books  for  school-use. 

J.  B.  Packard  and  W.  S.  Hubbard:  Songs  of 
Canaan,  Boston,  1842. 

Benjamin  F.  Baker  (1811-89),  early  prominent  as  a 
church  .singer  and  leader  in  Salem,  Portland  and 
Boston,  in  1841  Mason's  successor  in  the  Boston 
public  schools :  Boston  Musical  Education  Society's 
Collection,  Boston,  1842,  with  Woodbury  below ; 
Choral,  Boston,  1845,  also  with  Woodbury ; 
Haydn  Collection  of  Church  Music,  1850,  with 
L.  H.  Southard ;  Melodia  Sacra,  1852,  with 
Johnson  and  Osgood  below. 

Isaac  B.  Woodbury  (1819-58),  from  1839  member 
of  a  traveling  glee-club  in  New  England  and 
later,  after  some  study  abroad  in  1851,  teacher 
and  editor  in  New  York  of  '  The  Musical  Review ' 
(from  1850)  and  'The  Musical  Pioneer'  (see 
Baker  above)  :  Anthem  Dulcimer,  New  York, 
1850  :  Liber  Musicus,  1851 ;  Cythera  :  iVeto  Lute 
of  Zion  ;   besides  many  secular  collections. 

H.  W.  Day:  David's  Harp,  1842;  Numeral  Har- 
mony, 1846 ;  One-Line  Psalmist,  1849  —  these 
two  in  a  numeral  notation. 

Chants  and  Anthems  for  the  Church  of  the  Messiah, 
New  York,  1843. 

Ureli  C.  Hill  (?  1802-75),  a  New  York  violinist 
(pupil  of  Spohr)  and  founder  of  the  Philharmonic 
Society  in  1842  :  New  York  Sacred  Music  Society's 
Collection  of  Church  Music,  1843. 

William  B.  Bradbury  (1816-68),  an  organist  in 
Boston  from  1834  and  from  1840  teaching,  com- 
posing and  editing  in  New  York  (see  Hastings 
above  and  Hamilton  below)  :  Shawm,  1853,  with 
Root  below  ;  Jubilee,  1858;  etc. 

Edward  Hamilton :  Songs  of  Sacred  Praise  or 
American  Collection,  Boston,  1845,  with  Bradbury 
above. 

J.  H.  C.  Stanbridge  and  W.  H.  W.  Darley  :  Cantus 
EcclesicB,  Phila.  1844. 

Edward  L.  White :  Modern  Harp,  Boston,  1846, 
with  .John  E.  Gould  (1822-75) ;  Harmonia  Sacra, 
Boston,  1851,  also  with  Gould.  He  also  edited 
two  vols,  of  'The  Boston  Melodeon,'  1850,  a  third 
being  added  by  L.  H.  Southard  and  E.  H.  Baker. 


T.  Bissell :   Boston  Sacred  Harmony,  1846. 

Virgil  C.  Taylor  (b.  1817)  :  Sacred  Minstrel  or 
American  Church  Music  Book,  New  York,  1846; 
Choral  Anthems,  Boston,  1850. 

J.  B.  Aikin :  Church  Minstrel,  Phila.  1847  (char- 
acter-notes). 

Henry  K.  Oliver  (1800-85),  a  writer  upon  the 
making  and  use  of  mathematical  instruments 
and  a  musical  amateur  in  Boston  and  Salem : 
National  Lyre,  with  Tuckerman  below  and  S.  A. 
Bancroft;  Collection  of  Church  Music,  1860; 
Original  Hymn  Tunes,  1875. 

Samuel  P.  Tuckerman  (1819-90),  organist  in  Bos- 
ton from  1840  (studying  in  England  in  1849-53) 
to  1856,  after  which  he  lived  abroad  for  many 
years :  Episcopal  Harp,  184- ?  ;  Cathedral  Chants, 
1858 ;  Trinity  Collection  of  Church  Music,  New 
York,  1864.     See  also  Oliver  above. 

George  F.  Root  (1820-95),  in  1839-44  A.  N.  John- 
son's partner  in  Boston  and  closely  associated 
with  Mason  and  Webb,  removing  in  1845  to  New 
York  and  to  Chicago  in  1860  :  Collection  of  Church 
Music,  New  York,  1849,  with  Joseph  E.  Sweetser 
(1825-73);  Diapason,  1860;  besides  a  large 
number  of  secular  cantatas,  instruction-books, 
songs  and  cantatas.     See  also  Bradbury  above. 

Daniel  H.  Mansfield  (b.  1810)  :  American  Vocalist, 
Boston,  1849. 

Artemas  N.  Johnson  (b.  1817),  a  music-dealer  in 
Boston,  choir-leader  and  organist,  editor  of  'The 
Musical  Gazette '  and  '  The  Musical  Journal ' : 
Bay  State  Collection,  Boston,  1849,  with  Josiah 
Osgood  and  S.  Hill;  Handel  Collection  of  Church 
Music,  1854  ;  besides  books  on  Harmony  (1844, 
'54)  and  juvenile  collections. 

Leonard  Marshall :  Antiquarian,  1849 ;  Harpsi- 
chord or  Union  Collection,  1852,  with  E.  N. 
Stone. 

Augustus  D.  Fillmore  (b.  1823),  Christian  minister 
in  Ohio :  Universal  Musician ;  Christian  Psalm- 
ist —  both  probably  before  1850. 

John  W.  Moore  (1807-87),  editor  in  Vermont  and 
New  Hampshire,  and  author  of  an  Encyclopaedia 
of  Music  (1854)  :    Sacred  Minstrel,  before  1850. 
From  1850  — 

Richard  S.  Willis  (1819-1900),  brother  of  the  poet 
N.  P.  Willis,  editor  and  author  in  New  York : 
Church  Chorals,  New  York,  1850.  In  1855  he 
published  Our  Church  Music,  a  discussion  for 
pastors  and  people. 

Joseph  Funk,  a  music-publisher  at  Dayton,  Va. : 
Genuine  Church  Music,  1848?  (as  Harmonia 
Sacra,  '50). 

Henry  W.  Greatorex  (1811-58),  an  English  organist 
at  Hartford,  later  in  New  York  :  Collection  of 
Psalm  and  Hymn  Tunes,  Chants,  Anthems  and 
Sentences,  Boston,  1851. 

William  Bullock :  Songs  of  the  Church,  Halifax, 
N.  S.,  1854. 

John  Zundel  (1815-82),  a  German  organist,  at 
Plymouth  Church  in  Brooklyn  in  1850-78: 
Psalmody,  New  York,  1855. 

William  H.  Walter  (b.  1825),  organist  at  Newark, 
New  York  and  Washington  :  Selection  of  Psalms, 
1857 ;  Manual  of  Church  Music,  1860. 

F.  E.  Pitts,  minister  at  Na.shville,  Tenn. :  Zion's 
Harp,  Louisville,  before  1859. 

Lewis  H.  Steiner  (b.  1827),  physician  in  Baltimore: 
Cantate  Domino,  Boston,  1859,  with  Henry 
Schiving. 

C.  Warren :  Missouri  Harmony,  Cincinnati,  prob- 
ably before  1860. 

A.  Aldrich  :   Sacred  Lyre,  Boston,  1859. 

Among  those  whose  works  began  before  1860,  but 
continued  much  later,  are  especially : 


TUNE-BOOKS 


TUNE-BOOKS 


391 


Luther  O.  Emerson  (1820-1915) :   Romberg  Collec- 

ticm,  Boston,  1853 ;   etc. 
William  O.  Perkins  (1831-1902) :  Choral  Harmony, 

1859;  etc. 

The  total  amount  of  original  music  in  these 
books  is  considerable  and  includes  'anthems' 
as  well  as  'tunes'  in  many  cases.  Most  of  it 
has  the  interest  of  being  indigenous,  since 
practically  all  the  compilers  and  contributors 
were  native  Americans  and  had  no  ambition 
except  to  serve  an  actual  musical  situation 
as  they  knew  it. 

Detailed  discussion  of  the  styles  exemplified 
cannot  be  attempted  here.  They  are  perhaps 
more  varied  than  is  usually  realized,  with  some 
interesting  analogies  to  similar  work  elsewhere. 
As  to  harmony,  they  keep  mainly  to  a  small 
selection  of  chords,  without  much  inversion 
or  modification.  Modulation  is  wanting  or 
extremely  hmited.  A  curious  impulse  toward 
'fuguing'  or  a  kind  of  counterpoint,  which 
Billings  and  a  few  others  indulged,  did  not 
long  continue.  As  to  melody,  some  good 
specimens  of  diatonic  procedure  occur,  the 
interest  lying  in  the  solidity  of  the  chord- 
succession.  But  the  prevailing  tendency 
is  toward  the  free  skips  and  arpeggiations  of 
secular  song.  The  rather  numerous  rhythmic 
and  metric  patterns  imply  the  same  relationship. 
As  compared  with  the  complexity  and  studied 
art  of  the  English  part-song  or  glee  tunes  that 
were  plentifully  introduced  after  the  Civil 
War,  these  old  tunes  certainly  lack  richness. 
But  they  are  almost  always  singable,  and  some 
of  them  have  no  small  individuality. 

As  illustrating  the  persistence  of  the  tj^pe,  and  also 
suggesting  an  easy  means  of  reference  to  it,  it  may  be 
noted  that  in  Hatfield's  Church  Hymn  Book  (1872) — 
a  large  and  carefully  edited  book  —  out  of  about 
450  tunes  at  least  175  are  taken  from  this  older 
Psalmody.  Among  the  specimens  thus  preserved 
are  Billings'  'Jordan'  (1781) — though  not  his 
better-known  'Chester' — Edson's  '  Bridgewater ' 
and  'Lenox'  (1782),  Holyoke's  'Arnheim'  (1785), 
Daniel  Read's  'Lisbon'  and  'Windham'  (1785), 
Holden's  'Coronation'  (1793),  Swan's  'China' 
(1800),  Ingalls'  'Northfield'  (1805),  John  Cole's 
'Geneva'  (1805),  Mitchell's  'Pilesgrove'  (1812), 
Norton's  'Devonshire'  (1818),  more  than  20  by 
Hastings,  including  'Retreat'  (1822),  'Rock  of 
Ages'  and  'Zion'  (1830),  'New  Haven'  (1833), 
'Rhine'  (1836),  'Arcadia'  (1839),  and  'Peniel'  (1850), 
nearly  45  of  Lowell  Mason's  original  tunes,  including 
'Missionary  Hymn'  (1824),  'Hebron,'  'Laban,' 
'Litchfield,'  'Rockingham,'  'Uxbridge'  and  'Wesley' 
(1830),  'Olivet'  (1831),  'Boylston'  (1832),  'Sabbath' 
(1834),  'Admah'  (1835),  'Ariel'  and  'Naomi'  (1836). 
'Zerah'  (1837),  'Gerar'  and  'Meribah'  (1839),  'Har- 
well' and  'Migdol'  (1840),  'Ernan'  (1850),  'Henley' 
(1854)  and  'Bethany'  (1859),  besides  many  of  his 
arrangements,  Gardiner's  'Dedham'  (1830),  N.  D. 
Gould's  'Woodland'  (1832),  Oliver's  'Federal  Street' 
(1832)  and  'Merton'  (1843),  Zeuner's  'Missionary 
Chant'  and  'Telemann'  (1832)  and  'Oaksville' 
(1839),  Pond's  'Armenia'  (1835),  Webb's  'Webb' 
(1837),  Kingsley's  'Heber,'  'Tappan'  and  'Ware' 
(1838)  and  'Southport'  (1863),  nearly  20  by  Brad- 


buryi  including  'Brown'  (1840),  'Braden,'  'Rest' 
and  'Zephyr'  (1844),  'Woodworth'  (1849),  'Aletta' 
(1856)  and  'Even  Me'  (1862),  Ives'  'Beulah'  (1846), 
Woodbury's  'Edmeston'  (1848)  and  'Siloam'  (1850), 
Taylor's  'Louvan'  and  'Solitude'  (1849),  J.  E. 
Gould's  'Bera'  (1849),  Greatorex's  'Bemerton'  and 
'Leighton'  (1849),  Sweetser's  'Octavius'  and  'Rose 
Hill'  (1849),  Zundel's  'Lebanon'  (1855),  Root's 
'Shining  Shore'  (1859),  etc.  In  addition,  there  are 
many  tunes  by  composers  who  did  not  edit  books, 
such  as  'Kentucky'  and  'Rockbridge'  (1822)  by 
Aaron  Chapin,  'Expostulation'  (1830)  by  Josiah 
Hopkins  (1786-1862),  'Holley'  (1835)  by  George 
Hews  (1806-73),  'Martyn'  by  Simeon  B.  Marsh 
(1836),  'State  Street'  (1844)  by  Jonathan  C.  Wood- 
man (1813-94),  'Wimborne'  by  Whittaker  (1849), 
'Maitland'  (1850)  by  George  N.  Allen  (1812-77). 
'Rathbun'  (1851)  by  Ithamar  Conkey  (1815-67). 
'Solitude'  by  L.  T.  Downes  (1851),  'Stockwell' 
(1851)  by  Darius  E.  Jones  (1815-81),  etc. 

The  list  of  books  might  be  much  prolonged, 
since  the  issue  of  tune-books  continued 
plentifully  beyond  the  time  of  the  Ci\'il  War. 
The  latter  part  of  it,  as  here  extended  to  about 
1860,  is  doubtless  incomplete,  especially  after 
about  1825,  and  perhaps  somewhat  inaccurate, 
since  the  data  are  not  as  well  brought  together 
as  for  the  earlier  time.  What  is  here  set 
down,  however,  makes  an  impressive  showing 
of  a  persistent  line  of  musical  effort  for  more 
than  a  century.  The  total  number  of  books 
included  is  nearly  375, 'by  about  200  compilers 
whose  names  are  known.  The  editions  of  the 
earlier  books  were  relatively  small,  so  that  as 
business  ventures  they  could  hardly  have 
been  remunerative,  while  their  influence  was 
local  and  temporary.  But  of  Mason's  various 
works  it  is  said  that  over  a  million  copies  were 
sold,  which  implies  wide  distribution  and  a 
settled  demand. 1 

With  the  advent  of  Mason  and  Hastings,  or 
at  least  from  about  1830,  the  old  Psalmody 
plainly  entered  upon  a  second  stage.  The 
original  instinctive  efforts  toward  popular 
training  in  the  rudiments  of  singing,  toward 
what  is  now  called  'community  music,'  and 
toward  the  discipline  and  enrichment  of  church- 
services  —  these  all  remained  in  force.  But 
now  the  leading  spirits  were  men  of  better 
technical  training,  of  more  independent  station 
and  of  broader  outlook.  From  Mason  on- 
ward many  of  them  had  considerable  study 
in  Europe.  Many  of  them,  too,  secured 
honorable  place  as  private  teachers  and 
certainly  were  in  contact  with  other  phases 
of  musical  progress  besides  that  represented 
in  their  tune-books. 

Mason  came  just  when  the  public  school  was 
first  establishing  itself  as  an  institution.  He 
was  so  much  interested  that  in  1832  he  gave 
up  the  leadership  of  the  Handel  and  Haydn 
Society  to  become  what  would  now  be  called 
'music-supervisor'   for   the   public   schools   of 

1  See  '  Jour,  of  Education,'  Sept.  1857,  and  Allibone. 
Diet,  of  Authors, 


392 


TUNE-BOOKS 


TYRWHITT 


Boston.  Before  1840,  besides  attracting  in- 
quirers and  students  to  Boston,  he  began  to 
exert  influence  elsewhere,  either  by  conducting 
classes  himself  or  by  encouraging  the  holding 
of  'musical  conventions'  to  stir  up  popular 
interest  and  help  in  training  teachers  —  thus 
starting  a  movement  that  continued  for  many 
decades  and  is  to-day  represented  by  the 
Chautauqua  Institution  and  numerous 
'summer  schools.'  His  own  direct  impress 
was  felt  as  far  west  as  Cincinnati  and  as  far 
south  as  Philadelphia  and  Baltimore.  That 
Mason  was  the  pioneer  in  the  present  immense 
expansion  of  public-school  music  throughout 
the  country  is  obvious.  In  some  sense  he 
was  also  an  instigator  for  the  growth  of 
systematic  musical  instruction  in  other  ways. 
From  the  itinerant  'singing-teacher'  of  the 
time  of  Billings  to  the  modern  'music-school' 
seems  like  passing  between  things  essentially 
discrete.  Yet  in  the  work  of  Mason  and  his 
colleagues  they  were  historically  connected. 

Mason's  great  enthusiasm  was  for  choral 
singing.  He  himself  organized  and  led  large 
choirs  in  Boston  and  elsewhere.  It  is  clear 
that  he  proposed  thus  to  lift  and  direct  popular 
standards.  But  it  proved  that  this  emphasis 
actually  led  very  soon  to  a  separation  of 
interest  between  choir  and  congregation, 
especially  as  about  1850  musical  leaders  began 
to  be  more  and  more  those  of  foreign  birth, 
with  no  sympathy  with  the  traditions  of  the 
old  Psalmody.  In  time  the  distinction  thus 
fostered  between  the  'artistic'  and  the 
'popular'  was  greatly  accentuated  by  the 
replacement  of  the  chorus-choir  by  the  quartet 
or  similar  small  force  of  trained  singers.  In 
time,  also,  the  distinction  worked  itself  out 
in  the  development  of  a  new  type  of  church- 
hymnal,  with  words  and  music  combined. 
The  movement  in  this  direction,  which  began 
soon  after  1830  (see  Hymn-Books),  came  to 
have  two  diverse  branches.  One  of  these 
grew  into  the  dignified  and  artistic  hymnals 
of  the  present  day  —  in  which  surely  Mason 
would  have  rejoiced.  The  other  veered  off 
into  the  music  of  the  choirless  assembly  —  the 
Sunday-school,  the  camp-meeting  and  the 
revivalist's     campaign  —  whence     arose     the 


so-called  'Gospel  hymns,'  in  countless  myriads 
and  of  uncertain  essential  quality.  It  is 
curious  that  two  branches  from  the  same 
original  stalk  of  primitive  Psalmody  should 
bear  such  dissimilar  fruits  in  the  half-century 
since  the  Civil  War  and  be  arrayed  in  so  much 
hostility  to  each  other  as  they  are.  And  it 
is  unfortunate  that  after  1860  the  types  of 
'popular'  sacred  song  which  most  obviously 
were  derived  from  the  traditional  Psalmody 
should  not  have  been  more  affected  by  the 
general  advance  in  musical  culture  and  taste 
in  other  fields.  The  consequence  has  been 
that  musicians  who  have  reacted  against  the 
vapid  and  merely  noisy  forms  of  this  later  type 
have  been  led  to  underestimate  the  historic 
significance  of  the  earlier  Psalmody,  much  of 
which  was  at  least  sincere  and  dignified. 

TURNER,  ALFRED  DUDLEY  (1854- 
1888).     See  Register,  6. 

TURNER,  ARTHUR  HENRY  (b.  1873). 
See  Register,  8. 

TWADDELL,  WILLIAM  POWELL  (b. 
1879).     See  Colleges,  2  (Tifft  C,  Ga.). 

'TWILIGHT  OF  THE  KINGS,  THE.' 
A  'masque  of  democracy,'  No.  16  of  the 
'Grove-Plays'  of  the  San  Francisco  Bohemian 
Club,  produced  in  1918.  The  text  is  by 
Richard  M.  Hotaling  and  the  music  by 
Wallace  A.  Sabin. 

TYLER.     See  Register,  2. 

TYLER,  ABRAM  RAY  (Dec.  24,  1868, 
Brooklyn),  was  trained  as  pianist  and  organist 
in  Brooklyn  and  New  York  by  Buck,  Mason, 
Bowman  and  Rybner,  and  for  several  years 
was  organist  in  New  York.  In  1902-11  he 
was  music-director  at  Beloit  College  in  Wis- 
consin, continuing  afterward  as  lecturer,  and 
since  1916  has  been  organist  at  Temple 
Beth-El  in  Detroit.  He  has  given  many 
organ-recitals  in  different  places,  as  at  the 
Pan-American  Exposition  in  Buffalo  in  1901. 
For  a  time  he  was  secretary  of  the  A.  G.  0., 
and  has  been  dean  of  the  Michigan  Chapter. 
He  has  published  a  violin-sonata,  a  piano- 
trio,  music  for  Protestant  and  Jewish  services, 
and  settings  of  Greek  plays.     [  R.8  ] 

TYRWHITT,  GERALD  HUGH.  See 
Bernebs. 


u 


UHE.  ARTHUR  EMIL  (b.  1892).  See 
Register,  10. 

'UNCLE  TOM.'  An  opera  by  Caryl 
Florio,  produced  in  Philadelphia  in  1882. 

UNIVERSITIES,  MUSIC  IN.  See  Col- 
leges and  State  Universities, 

UNIVERSITY  MUSICAL  SOCIETY, 
THE,  of  the  University  of  Michigan,  at  Ann 
Arbor,  was  first  organized  in  1879  under  the 
lead  of  Calvin  B.  Cady,  then  acting-professor. 
Membership  was  limited  to  the  trustees, 
faculty  and  graduates  of  the  University,  and 
the  general  purpose  was  to  promote  music 
as  a  part  of  its  educational  system.  In  1888 
it  was  incorporated,  with  power  to  establish 
and  maintain  a  School  of  Music,  an  orchestra, 
a  chorus  and  an  annual  series  of  high-class 
concerts.  All  these  purposes  have  been 
brilliantly  realized. 

The  University  School  of  Music  was  founded 
in  1889,  when  Albert  A.  Stanley  became  pro- 
fessor. Reorganized  in  1891  on  its  present 
basis,  its  relation  to  the  whole  life  of  the 
institution  has  been  remarkably  intimate. 
There  are  now  about  30  in  the  faculty,  and  the 
annual  enrolment  runs  over  500,  coming  from 
the  whole  United  States  and  several  foreign 
countries.  The  number  of  pupils  since  the 
first  is  nearly  8000.  The  School  has  a  com- 
modious building,  erected  in  1892  and  much 
enlarged  and  completely  modernized  in  1917. 
The  equipment  is  ample  and  excellent. 

The  University  Symphony  Orchestra,  with 
an  average  membership  of  50  or  more,  gives 
several  concerts  each  season  before  large 
audiences.  The  programs  include  a  wide 
range  of  standard  instrumental  literature. 

The  University  Choral  Union  began  in  1879 
and  since  1893  has  had  an  average  membership 
of  about  300.  Its  repertoire  includes  all  the 
leading  sacred  and  secular  works,  some  not 
previously  given  in  America.  Since  1893 
a  May  Festival  has  been  held,  consisting 
usually  of  six  concerts,  with  the  most  eminent 
soloists  and  a  large  orchestra,  such  as  the 
Chicago  Orchestra.  Five  '  pre-festival '  con- 
certs are  also  given  with  visiting  artists.  In 
the  Festival  series  about  2000  works  have  been 
given,  including  about  75  important  choral 
works.  Ten  of  the  best  orchestras  and  over 
300  famous  soloists  have  assisted.  In  ad- 
dition, about  1200  concerts  or  recitals  of  sig- 
nificance have  been  given  under  the  auspices 
of  the  School  of  Music,  covering  most  of  the 
range  of  ensemble  and  solo  music.  All  con- 
certs, except  those  of  the  Choral  Union  and 
at  the  Festival,  are  free.  It  is  estimated  that 
about  40,000  persons  have  sung  in  the  chorus 
for  periods  of  a  year  to  three  years. 


UNSCHULD,  MARIE  VON  (May  17,  1881, 
Olmiitz,  Austria),  studied  piano  at  the  Vienna 
Conservatory  and  later  with  Leschetizky  and 
Stavenhagen,  violin  with  Dont,  and  counter- 
point and  composition  with  Gradener.  After 
appearing  in  Vienna  as  pianist  and  in  various 
cities  in  Europe  and  America,  in  1904  she 
established  the  Von  Unschuld  University  of 
Music  in  Washington.  She  has  lectured  at 
several  institutions,  and  is  author  of  The 
Hand  of  the  Pianist,  1901,  and  Supplement, 
1906,  The  Scale-Practice,  3  vols.,  1910,  The 
Von  Unschuld  Method  of  Pianoforte-Playing 
and  Teaching,  1911,  The  Graded  Course,  1912, 
Art  of  and  Means  for  Pianoforte-Instruction, 
1915,  and  Handbook  of  General  Musical 
Knowledge,  1915.  In  1907  she  married  Henry 
Lazard  of  Newport,  R.  I.     [  R.9  ] 

UPTON,  GEORGE  PUTNAM  (Oct.  25, 
1835,  Roxbury,  Mass.  :  May  20,  1919, 
Chicago),  was  educated  at  the  Roxbury  Latin 
School  and  Brown  University,  graduating 
in  1854.  From  1855  for  more  than  sixty 
years  he  lived  in  Chicago  as  an  active  journal- 
ist. At  first  he  was  on  the  staff  of  the  '  Native 
Citizen,'  then  of  the  'Evening  Journal,'  and 
from  1860  of  the  'Tribune.'  During  the  Civil 
War  he  was  an  active  war-correspondent.  He 
early  established  himself  as  musical  critic. 
He  heard  the  earliest  important  operatic  and 
orchestral  performances  in  Chicago,  and  wrote 
the  first  newspaper  criticisms  that  appeared 
there.  In  1872  he  was  one  of  the  founders  of 
the  Apollo  Club  and  its  first  president.  He 
was  a  zealous  supporter  of  Theodore  Thomas 
in  all  his  enterprises,  both  before  and  after 
his  going  to  Chicago.  He  was  a  member  of 
numerous  writers'  associations.  His  numerous 
books  were  marked  by  great  pains  as  to 
accuracy,  a  genial  and  broad-minded  spirit 
and  much  felicity  of  expression.  They 
include  Letters  of  Peregrine  Pickle  (musical 
and  literary),  1869,  Woman  in  Music,  1880, 
Standard  Operas,  1886  (many  editions,  en- 
larged). Standard  Oratorios,  1887,  Standard 
Cantatas,  1888,  Standard  Symphonies,  1889, 
Musical  Pastels,  1902,  Standard  Light  Operas, 
1902,  Theodore  Thomas,  an  Autobiography, 
2  vols.,  1905,  Life  of  Remhiyi,  1906,  Standard 
Concert-Guide,  1908  (revised,  1918),  Standard 
Concert-Repertory,  1909,  Standard  Musical 
Biographies,  1910,  In  Music-Land,  1913,  The 
Song,  1914.  He  also  translated  Nohl's  bi- 
ographies of  Haydn,  Beethoven,  Wagner 
and  Liszt,  Max  Miiller's  Memories  and  Theodor 
Storm's  Immensee.  His  autobiographic  Musi- 
cal Memories,  1908,  contains  much  valu- 
able information,  presented  with  much  charm. 
[  R.5  1 


393 


394 


URANIAN  SOCIETY 


UTT 


URANIAN  SOCIETY,  THE,  of  Phila- 
delphia, was  the  formal  outgrowth  of  an  effort 
in  1784  by  Andrew  Adgate  to  establish  classes 
for  instruction  in  psalmody.  The  Society 
took  shape  in  1785  as  a  body  of  subscribers 
'  to  establish  a  Free  School  for  the  spreading  of 
the  knowledge  of  vocal  music'  From  the 
outset  occasional  concerts  were  given  in  the 
hall  of  the  University  of  Pennsylvania.  In 
1787  the  name  Uranian  Academy  was  adopted 
and  Adgate  was  called  president.  At  that 
time  the  number  of  pupils  to  be  received  was 
set  at  300,  with  three  places  of  instruction. 
Among  the  trustees  and  patrons  were  Dr. 
Benjamin  Rush  and  Francis  Hopkinson. 
Data  about  the  Academy  after  1790  are  want- 
ing. Adgate  died  in  1793,  but  traces  of  the 
name  'Uranian'  are  found  until  after  1800. 
In  1793-97,  perhaps  longer,  a  Uranian  Musical 
Society  existed  in  New  York.  See  Sonneck, 
Concert-Life,  pp.  103-18,  203. 


URSO,  CAMILLA  (June  13,  1842,  Nantes, 
France  :  Jan.  20,  1902,  New  York),  was 
the  daughter  of  an  orchestral  player.  She 
began  to  study  the  violin  in  her  sixth  year,  and 
at  nine  became  a  pupil  of  Massart  at  the  Paris 
Conservatory.  In  1852  she  came  to  America 
as  a  child-performer,  playing  in  concerts 
with  Sontag  and  Alboni.  After  three  years 
her  parents  settled  in  Nashville,  Tenn.,  and 
for  seven  years  she  devoted  herself  to  violin- 
practice.  In  1862  she  took  up  concert-work 
again,  appearing  first  in  New  York  at  a  Phil- 
harmonic concert.  Thereafter  for  thirty  years 
she  made  constant  tours  in  America  and 
Europe  with  great  success.  She  visited  Aus- 
tralia in  1879  and  1894,  and  South  Africa  in 
1895.  The  last  years  of  her  life  were  spent  in 
New  York.  See  an  interesting  reference  to  her 
in  Upton,  Musical  Memories,  pp.  70-1.     [  R.4  ] 

UTT.  PAUL  RALPH  (b.  1882).  See 
Colleges,  3  (Ottawa  U.,  Kan.). 


V 


'VALERIE.'  A  four-act  opera  by  J. 
Remington  Fairlamb,  produced  by  an  amateur 
troupe  in  Washington  about  1870. 

VALLERIA,  ALWINA  (b.  1848).  See 
Register,  6. 

VALLE-RIESTRA,  JOSfi  (b.  1859).  See 
Register,  8. 

VALLEY,  OLOF.  See  State  Univer- 
sities (Kansas  State  C). 

VALTON,  PETER.     See  Register,  1. 

VAN  BROEKHOVEN,  JOHN  A.  (b.  1856). 
See  Register,  7. 

VAN  CLEVE.  JOHN  SMITH  (Oct.  30, 
1851,  Maysville,  Ky.),  lost  his  sight  in  early 
childhood  and  had  his  schooling  at  the  Ohio 
Institute  for  the  Blind,  where  he  had  piano- 
lessons  from  H.  J.  Nothnagel.  He  went  to 
the  Woodward  High  School  in  Cincinnati, 
Ohio  Wesleyan  University  and  Boston  Uni- 
versity. In  Cincinnati  he  studied  with  W. 
Steinbrecher,  and  in  Boston  with  Lang  and 
Apthorp.  He  taught  at  the  Ohio  Institute 
for  the  Blind  in  1872-75,  at  Janesville,  Wis., 
in  1875-79,  and  then  moved  to  Cincinnati, 
where  he  taught  piano  and  theory,  lectured 
on?|music  and  literature  at  the  College  of 
Music  and  Conservatory  of  Music,  and  was 
music-critic,  first  for  the  'Commercial'  and 
after  1883  for  the  'News- Journal.'  He  gave 
many  lecture-recitals,  and  was  much  in  de- 
mand as  teacher.  In  1897  he  removed  to 
Chicago,  later  to  Troy,  N.  Y.,  and  in  1913 
to  New  York.  He  received  the  degree  and 
Ph.D.  from  Twin  Valley  College  in  1892.  He 
has  published  a  'Gavotte  Humoresque'  for 
piano,  lectures,  poems  and  many  miscellaneous 
articles.  As  a  writer,  he  has  decided  gifts  of 
presentation  and  diction.     [  R.6  ] 

VAN  DER  STUCKEN,  FRANK  VALEN- 
TIN (Oct.  15, 1858,  Fredericksburg,  Tex.).  See 
article  in  Vol.  v.  217.  He  studied  theory  and 
composition  with  Benolt  and  violin  with 
^fimile  Wambach  in  Brussels  in  1866-76. 
From  this  period  date  a  Gloria  for  chorus  and 
orchestra,  a  Te  Deum  for  soli,  chorus  and 
orchestra,  and  a  'Festmarsch'  for  orchestra. 
He  spent  the  years  1876-78  at  Leipzig,  re- 
ceiving aid  from  Reinecke,  Grieg  and  Langer, 
His  first  concert  in  America  was  on  Apr.  4, 
1884,  at  Steinway  Hall  in  New  York.  Besides 
his  work  with  the  Arion  Society  he  became 
active  as  an  orchestral  conductor,  and  was 
the  first  to  present  orchestral  programs  entirely 
by  American  composers.  On  July  12,  1SS9, 
he  gave  such  a  program  at  the  Paris  Ex- 
position. In  1892  he  conducted  the  concerts 
on  thb  European  tour  of  the  Arion  Society. 
He  was  in  demand  as  festival-conductor,  and 
officiated  thus  at  Indianapolis  in  1887,  New- 


ark in  1891  and  New  York  in  1894.  In 
1895-1907  he  was  conductor  of  the  Cincinnati 
Symphony  Orchestra,  and  till  1903  also  di- 
rector of  the  College  of  Music.  He  conducted 
the  Cincinnati  May  Festivals  in  1906-12,  the 
Wagner  Festival  at  Antwerp  in  1913,  the 
Festival  of  Dramatic  Music  there  in  1914, 
and  has  given  many  orchestral  programs  of 
his  own  music  in  America  and  abroad.  For 
the  last  ten  years  he  has  made  his  home  in 
Europe,  coming  to  America  only  upon  occasion. 
In  1919  he  conducted  orchestral  works  in 
Copenhagen.  Additional  orchestral  works  are 
a  suite,  'Festzug,'  'Pagina  d'Amore,'  'Idylle,' 
'Rigaudon,'  the  festival-march  'Louisiana,' 
a  waltz  for  strings,  a  '  Festival  Hymn'  for  men's 
chorus  and  orchestra,  etc.  His  'Tempest' 
music  was  first  given  at  Breslau  in  1862,  the 
'  William  Ratcliff '  prologue  at  Weimar  in  1883, 
and  the  'Pax  Triumphans'  at  the  Brooklyn 
Festival  of  1900.     [  R.7  ] 

VAN  DRESSER,  MARCIA  (b.  1880).  See 
Register,  8. 

tVAN  DYCK,  ERNEST  MARIE  HU- 
BERT (Apr.  2,  1861,  Antwerp,  Belgium). 
See  article  in  Vol.  v.  217.  Since  1906  he  has 
been  professor  of  singing  at  the  Antwerp  and 
Brussels  Conservatories.  His  American  debut 
was  as  Tannhiiuser  in  1898  at  the  Metropolitan 
Opera  House,  where  he  continued  to  sing 
regularly  till  1902. 

VAN  GORDON,  CYRENA  [name  originally 
Pocock]  (b.  1893).     See  Register,  10. 

VAN  HAGEN,  PETER  ALBRECHT  (d. 
1800?,  New  York),  in  1774  appeared  in 
Charleston  as  teacher  of  organ,  piano,  stringed 
instruments  and  composition.  In  1789  he 
was  located  as  teacher  and  player  in  New  York, 
assisted  in  concerts  by  his  wife  and  son.  In 
1796  the  family  moved  to  Boston,  where 
father  and  son  played  in  theater-orchestras, 
were  church-organists  and  managed  a  music- 
store.  The  father  is  probably  the  son  of  Peter 
Albrecht  Van  Hagen,  who  was  a  pupil  of 
Geminiani,  violinist  and  organist  at  Rotterdam. 
If  so,  he  was  himself  a  pupil  of  Honauer  in 
Paris.  See  Sonneck,  Concert-Life,  especially 
p.  23,  and  I.  M.  G.  Sammelbde.  6.  478. 

VAN  HOOSE,  ELLISON  (Aug.  18,  1869, 
Murfreesboro,  Tenn.),  after  first  lessons  from 
his  mother,  studied  in  New  York  for  five 
years  with  Perry  Averill  and  Isadore  Luck- 
stone,  then  with  Fidfele  Koenig  and  Jean  de 
Reszk6  in  Paris,  Sir  Henry  Wood  and  Franco 
Navora  in  London  and  Antonio  Cotogni  in 
Rome.  He  sang  tenor  in  New  York  church- 
choirs  until  1897,  when  he  was  engaged  by  the 
Damrosch-Ellis  Opera  Co.,  and  made  his 
d^but  in  Philadelphia  as  Tannhauser.     During 


395 


396 


VAN  VECHTEN 


VERE 


the  two  following  season8  he  continued  with 
the  same  company,  and  appeared  in  orchestral 
concerts  in  London  and  elsewhere  in  England- 
In  1899-1900  he  was  at  the  Mayence  Opera, 
and  for  the  next  ten  years  sang  variously  in 
concert,  opera  and  oratorio.  In  1903-05 
he  made  two  American  tours  with  Mme. 
Melba,  and  in  1906-07  with  Mme.  Sembrich. 
In  1911-12  he  sang  with  the  Chicago  Opera 
Company,  and  has  since  specialized  in  oratorio 
and  concert-work.  With  the  New  York 
Oratorio  Society  he  participated  in  the  Ameri- 
can premiere  of  Elgar's  'Dream  of  Gerontius' 
on  Dec.  6,  1903.     [  R.8  ] 

VAN  VECHTEN,  CARL  (June  17,  1880, 
Cedar  Rapids,  la.),  graduating  from  the 
University  of  Chicago  in  1903,  and  has  de- 
voted himself  to  writing  on  musical  and 
allied  subjects.  His  books  are  Miisic  after 
the  Great  War,  1915,  Music  and  Bad  Manners, 
1916,  Interpreters  and  Interpretations,  1917, 
The  Merry-Go-Round,  1918  and  The  Music 
of  Spain,  1919.  He  has  championed  the  cause 
of  the  moderns  in  music.  He  was  one  of  the 
first  in  America  to  write  of  Stravinsky,  Orn- 
stein  and  Satie.  He  has  devoted  several 
essays  to  modern  stage-decoration,  with 
particular  emphasis  on  the  work  of  Adolphe 
Appia.  His  Music  of  Spain  is  the  only  book 
on  the  subject  in  English.  He  was  assistant 
musical  editor  of  the  New  York  'Times'  for 
four  years,  edited  the  program-notes  for  the 
Symphony  Society  in  1910-11,  contributed 
the  musical  biographical  notes  to  the  revised 
edition  of  the  Century  Dictionary,  and  was 
Paris  correspondent  for  the  'Times'  in  1908-09 
and  dramatic  critic  for  the  'Press'  in  1913-14. 
[  R.9  ] 

VAN  VLECK,  JACOB.     See  Register,  2. 

VAN  VLIET,  CORNELIUS  (Sept.  1,  1886, 
Rotterdam,  Holland),  began  violin  and  piano 
at  six,  but  at  nine  changed  to  the  'cello  and 
at  twelve  was  heard  in  concert.  He  studied 
with  Eberle  in  Rotterdam  and  Mossel  in 
Amsterdam,  and  joined  the  Concertgebouw 
Orchestra  under  Mengelberg.  Thence  in 
1903  he  went  as  leading  'cellist  to  the  Leipzig 
Philharmonic  and  the  Prague  Philharmonic, 
followed  by  solo-engagements  in  Helsingfors, 
Munich  (1905)  and  Vienna  (1908)  under 
Weingartner.  In  Helsingfors  he  also  taught 
chamber-music  in  the  Conservatory.  In 
1911-12  he  concertized  in  America  and  then 
joined  the  Minneapolis  Symphony  Orchestra 
and  the  Minneapolis  Trio.  Since  1919  he 
has  been  located  in  New  York,  chiefly  occupied 
with  concert-work.  He  is  'cellist  in  the  New 
York  Trio.     [  R.IO  ] 

VAN    ZANDT,    MARIE    (Oct.    8,    1861,i 

New  York      :     Dec.  31,  1919,  Cannes,  France). 

i'1858'  in  Who's  Who  in  America,  1901-12,  but 
'  I860'  in  International  Year-Book,  1919. 


See  article  in  Vol.  v.  585-6.  In  1898  she 
married  Professor  Tcherinov  of  the  Moscow 
Imperial  Academy  and  retired  from  the  stage. 
Delibes  wrote  '  Lakme '  for  her,  but  her  greatest 
success  was  as  Mignon.     [  R.6  ] 

VEAZIE,  GEORGE  AUGUSTUS  (1835- 
1915).     See  Register,  5. 

VECSEI,  DESIDER  JOSEF  (b.  1882). 
See  Register,  10. 

VENTH,  CARL  (Feb.  16,  1860,  Cologne, 
Germany),  was  a  pupil  of  Hiller,  Japha, 
Jensen  and  Klauwell  at  the  Cologne  Conserv- 
atory, and  of  Wieniawski  and  Dupont  at  the 
Brussels  Conservatory,  graduating  from  the 
latter  in  1877  and  making  his  debut  as  violinist 
with  the  Utrecht  Symphony  Orchestra  in 
1878.  He  then  became  concertmaster  of  the 
Flemish  Opera  in  Brussels,  and  the  next  year 
held  a  similar  position  at  the  Opera-Comique 
in  Paris.  He  came  to  America  in  1880  and 
from  1884  was  concertmaster  at  the  Metro- 
politan Opera  House.  In  1888  he  established 
the  Venth  College  of  Music  in  Brooklyn, 
where  he  also  conducted  the  Brooklyn  Sym- 
phony Orchestra  and  choral  societies.  Moving 
to  Texas  in  1908,  he  became  head  of  the  violin- 
department  in  the  Kidd-Key  College  and 
conducted  the  Dallas  Symphony  Orchestra. 
At  present  he  is  dean  of  fine  arts  in  the  Texas 
Woman's  College  at  Fort  Worth,  conductor 
of  the  Fort  Worth  Symphony  Orchestra  and 
divisional  band-superintendent  at  Camp 
Bowie.  He  has  published  the  comic  opera 
'  Fair  Betty ' ;  the  cantatas  '  The  Resur- 
rection,' 'Myth-Voices,'  'From  Olden  Times' 
and  '  The  Quest  of  Beauty ' ;  the  piano-suite 
'Frithjof  and  Ingeborg,'  and  many  piano- 
pieces  ;  about  twenty-five  pieces  for  violin ; 
and  a  considerable  group  of  songs.  Two 
operas  and  a  cantata  are  in  manuscript,  as 
also  several  orchestral  works,  two  string- 
quartets,  a  piano-trio  and  sonata,  two  violin- 
concertos  and  three  sonatas  for  piano  and 
violin.     [  R.7  ] 

VERE,  CLEMENTINE  DUCHENE  DE, 
was  born  at  Paris.  She  studied  there  and  with 
Mme.  Albertini-Baucard6  at  Florence,  where 
at  sixteen  she  made  her  debut  as  Marguerite 
de  Valois  in  'Les  Huguenots.'  She  then  sang 
in  Italy,  France,  Spain,  Mexico,  Germany, 
England  and  Australia,  meeting  with  equal 
success  in  opera  and  concert.  She  sang 
Marguerite  in  Berlioz'  'Damnation  de  Faust' 
in  New  York  in  1896,  and  in  1897  joined  the 
Metropolitan  Opera  House  Company.  Later 
she  made  several  tours  of  England  with  the 
Moody-Manners  Opera  Company.  Since  1914 
she  has  lived  in  New  York  as  singer  and 
teacher.  In  1892  she  married  Romualdo 
Sapio,  the  conductor.  Her  repertoire  in- 
cludes Violetta,  Gilda,  Micaela,  Marguerite 
de  Valois,  the  Infanta   (in  'Le  Cid'),   Mar- 


VIARDOT-GARCIA 


VOGRICH 


397 


guerite  (in  'Faust')  Ophelia,  Alda,  Rachel, 
Elsa,  Lucia  and  Dinorah.     [  R.7  ] 

t  VIARDOT-GARCIA,  MICHELLE  FER- 
DINANDE  PAULINE  (July  18,  1821, 
Paris,  France  :  May  18,  1910,  Paris).  See 
article  in  Vol.  v.  267-8.  There  are  biographies 
by  La  Mara,  1882,  and  Torrigi,  1901,  and 
collections  of  letters  by  Kaminski,  1907,  and 
in  'The  Musical  Quarterly,'  July,  1915,  Jan- 
uary, 1916. 

tVIDAL,  PAUL  ANTONIN  (June  16, 
1863,  Toulouse,  France).  See  article  in  Vol. 
V.  271.  Since  1906  he  has  been  chief  conductor 
at  the  Op6ra-Comique.  To  the  list  of  works 
add  the  operas  'La  Reine  Fiammette'  (1898) 
and  'Ramses'  (1908),  the  operetta  'Le  Mariage 
d'Yvette'  (1893),  the  pantomimes  'Columbine 
Abandonn6e '  ( 1 888) ,  and '  La  R6verance '  ( 1 890) , 
the  lyric  fantasy  '  Eros '  (1892) ,  incidental  music 
to  Haraucourt's  'Juan  de  Manara'  and  to 
Pigeon's  'Amour  dans  les  Enfers,'  and  the 
orchestral  suite  'Les  Myst^res  d'fileusis.' 

'VIERJAHRIGE  POSTEN,  DER.'  An 
opera  by  Gustav  Hinrichs,  produced  in  San 
Francisco  in  1877. 

t  VIERNE,  LOUIS  VICTOR  JULES  (Oct. 
8,  1870,  Poitiers,  France),  in  1888-94  was  a 
pupil  at  the  Paris  Conservatory  of  Franck  and 
Widor.  At  graduation  he  won  the  first  organ- 
prize  and  became  Widor's  assistant  at  St.- 
Sulpice.  Since  1900  he  has  been  organist 
at  Notre-Dame.  He  is  professor  at  the 
Schola  Cantorum  and  OfRcier  de  I'lnstruction 
Publique.  He  has  given  recitals  with  great 
success  in  France,  Holland,  England,  Switzer- 
land and  Spain,  and  a  visit  to  America  is  in 
prospect.     His  works  include  the  following : 

'Ave  Maria,'  op.  1,  for  soprano  and  organ. 
Prelude  in  F-sharp  minor,  op.  2,  for  organ. 
Allegretto  and  'Prelude  FunSbre,'  op.  3,  for  organ. 
'Tantum  ergo,'  op.  4,  for  chorus  and  orchestra. 
'Le  Soir'  and  'Lggende,'  op.  5,  for  viola  or  'cello 

and  piano. 
Largo  and  Canzonetta,  op.  6,  for  oboe  and  piano. 
Communion,  op.  7,  for  organ. 
String-Quartet  in  D  minor,  op.  12. 
Symphony  No.  1,  in  D  minor,  op.  14,  for  organ 

(1899,  PSregally  &  Parvy). 
'Ave  verum,'  op.  15,  for  contralto  and  organ. 
Messe   Solennelle   in   C-sharp   minor,   op.    16,   for 

chorus  and  orchestra. 
'Suite   Bourgignonne,'    op.    17,   for   piano    (seven 

movements  also  for  orchestra). 
Trois  Airs  de  Ballet,  op.  18,  for  piano. 
Symphony  No.  2,  in  E  minor,  op.  20,  for  organ 

(PSregally). 
Legend,   'Praxinoe,   Princesse  d'Egypte,'   op.   22, 

for  soli,  women's  voices  and  orchestra. 
Sonata  in  G  minor,  op.  23,  for  violin  and  piano. 
Symphony  in  A  minor,  op.  24. 
Rapsodie,  op.  25,  for  harp. 
Sonata  in  B  minor,  op.  27,  for  'cello  and  piano. 
Symphony  No.  3,  in  F-sharp  minor,  op.  28,  for 

organ  (1912,  Durand). 
Messe  Basse  (1913,  Library  of  Catholic  Art). 
'24  Pieces  en  style  libre,'  op.  31,  for  organ  (1915, 

Durand). 


Symphony  No.  4,  in  G  minor,  op.  32,  for  organ 

(1918,  Schirmer). 
12  Preludes,  op.  33,  for  piano. 
2  Nocturnes,  in  A  minor  and  E,  op.  35,  for  piano. 
Poem,  'Psych6,'  op.  36,  for  voice  and  orchestra. 
Poem,  'I-iCs  Djinns,'  op.  37,  for  voice  and  orchestra. 
Poem,  'Eros,'  op.  38,  for  voice  and  orchestra. 
'Les  Cloches,'  op.  41,  for  piano. 
2  Nocturnes,  in  D-flat  and  C-sharp  minor,  op.  42, 

for  piano. 
Songs,  opp.  8,  10,  11,  13,  26,  29  and  40. 

VIGNA,  ARTURO.     See  Register,  9. 

VIGNETI,  GEORGES  (b.  1882).  See  Reg- 
ister, 10. 

VILIM,  JOSEPH  ALOIS  (Jan.  18,  1861, 
Chicago),  studied  violin  in  Chicago  and  in 
Prague,  graduating  at  the  Prague  Conserva- 
tory in  1883.  In  1884-87  he  was  teacher  of 
violin  at  the  Chicago  Musical  College,  in 
1887-99  director  of  the  violin-department 
at  the  American  Conservatory  and  in  1894-96 
a  first  violin  in  the  Thomas  Orchestra. 
In  1899  he  founded  the  Vilim  American 
Violin  School  (which  he  directed  till  1918),  and 
organized  the  DvoMk  Quintet,  the  Beethoven 
String  Quartet  and  the  Vilim  Home  Trio  (with 
his  sons  Richard  and  Mark).  He  now  has 
a  violin-studio  at  Coronado,  Cal.  He  is 
author  of  Violin-Technique  Guide  and  Seven 
Days'  Exercises  for  the  Advanced  Violinist. 
A  book  on  How  to  Practice  Paganini  and 
Difficult  Compositions  is  nearing  completion. 
[  R.7  ] 

'VINTAGE,  THE,'  or  'Sterne's  Maria.' 
An  opera  in  two  acts  by  Victor  Pelissier,  the 
text  by  William  Dunlap,  produced  in  New 
York,  on  Jan.  14,  1799.  See  Sonneck,  article 
in  I.  M.  G.  Sammelbde.  6.  482. 

'VIOLINIST,  THE,'  of  Chicago,  is  a 
monthly  periodical  established  in  1900.  Its 
editor  till  1906  was  Ray  G.  Edwards  and  since 
1908  has  been  Ada  E.  Taylor.  A  Violinist's 
Guide  was  first  issued  in  1916,  giving  useful  in- 
formation about  violin-makers. 

VIRGIL  PRACTICE  CLAVIER.  See  ar- 
ticle in  Vol.  ii.  266. 

VIX,  GENEVIEVE  (b.  1887).  See  Reg- 
ister, 10. 

VOC ALIGN.     See  article  in  Vol.  v.  360-1. 

VOGRICH,  MAX  WILHELM  KARL 
(Jan.  24,  1852,  Szeben,  Austria  :  June 
10,  1916,  New  York),  began  piano-study 
at  five  and  played  in  public  at  seven.  In 
1866-69  he  was  at  the  Leipzig  Conservatory, 
taking  piano  with  Moscheles,  Wenzel  and 
Reinecke,  and  theory  and  composition  with 
Hauptmann,  Richter  and  Reinecke.  In  1870- 
78  he  traveled  as  pianist  throughout  Europe 
and  also  in  Mexico  and  South  America.  In 
1878  he  came  to  New  York,  gave  recitals 
there  and  toured  the  country  with  Wilhelmj. 
In  1882-86  he  lived  in  Australia,  then  in  New 
York  till  1902,  in  Weimar  till  1908,  in  London 


398 


VOGT 


VOLPE 


till  1914  and  again  in  New  York.  The  latter 
part  of  his  life  was  given  to  composition 
and  to  work  as  adviser  to  G.  Schirmer.  The 
list  of  his  works  includes  the  operas  'Vanda' 
(1875,  Florence),  'King  Arthur'  (1893,  Leip- 
zig) and  'Der  Buddha'  (1904,  Weimar),  all 
to  his  own  librettos;  incidental  music  to 
Wildenbruch's  'Die  Lieder  des  Euripides' 
(Weimar) ;  the  dramatic  scene  '  The  Highland 
Widow';  the  oratorio  'The  Captivity'  (1891, 
Metropolitan  Opera  House) ;  the  cantatas 
'The  Diver'  and  'The  Young  King  and  the 
Shepherdess ' ;  a  Missa  Solemnis ;  two  sym- 
phonies, in  E  minor  and  A  minor ;  an  Andante 
and  Intermezzo  for  violin  and  orchestra ;  a 
concerto  in  E  minor  for  piano ;  '  Memento 
Mori'  for  violin  and  orchestra  (1912,  Berlin) ; 
a  violin-concerto,  'E  pur  si  muove'  (dedicated 
to  Elman  and  played  by  him,  1913,  Berlin, 
and  1917,  New  York)  ;  many  pieces  for 
piano,  violin  and  piano ;  songs  and  choruses. 
[11.6  ] 

VOGT,  AUGUSTUS  STEPHEN  (Aug.  14, 
1861,  Washington,  Ont.).  in  1881-82  studied 
at  the  New  England  Conservatory  in  Boston 
with  Emery,  Buckingham  and  Dunham,  and 
in  1885-88  at  the  Leipzig  Conservatory  under 
Reinecke,  Rehberg,  Ruthardt,  Papperitz  and 
Jadassohn.  In  1888-92  he  was  teacher  of 
piano  at  the  Toronto  College  of  Music,  going 
in  1892  to  the  Toronto  Conservatory,  where 
since  1913  he  has  been  director.  Under  his 
administration  this  has  become  the  largest 
and  best-equipped  school  of  music  in  the 
Dominion  and  one  of  the  foremost  in  America. 
In  1894  he  founded  the  Mendelssohn  Choir, 
continuing  as  conductor  till  1917  and  making 
it  one  of  the  finest  choral  bodies  in  the  world. 
In  1907  the  University  of  Toronto  gave  him 


the  honorary  degree  of  Mus.D.  In  1888- 
1906  he  was  organist  at  the  Jarvis  Street 
Baptist  Church.  He  has  written  several 
a  cappella  choruses  and  a  book  on  Modern 
Pianoforte-Technic,  1900.     [  R.7  ] 

VOLAVY,  MARGUERITE  (b.  1886).  See 
Register,  10. 

t  VOLBACH,  FRITZ  (Dec.  17,  1861,  Wip- 
perfiirth,  near  Cologne,  Germany).  See  article 
in  Vol.  V.  376.  He  continued  at  Mayence 
until  1907,  when  he  became  music-director 
and  professor  at  Tubingen.  In  1899  he 
secured  a  Ph.D.  with  a  thesis  upon  Die  Praxis 
der  Handel- Auffilhrung.  In  1900  he  was  in 
charge  of  a  musical  celebration  at  Mayence 
of  the  quinquecentenary  of  Gutenberg's  birth. 
He  is  equally  celebrated  as  instrumentalist, 
conductor  and  composer.  Additional  works 
are  a  Symphony  in  B  minor,  op.  33,  the 
comedy-opera  'Die  Kunst  zu  lieben,'  op.  34 
(1910,  Diisseldorf ) ,  'Konig  Laurins  Rosen- 
garten,'  op.  38,  for  baritone,  men's  chorus 
and  orchestra,  and  incidental  music  to  the 
tragedy  'Konig  Tulga.'  For  list  of  books, 
see  Baker,  Diet,  of  Musicians,  p.  991. 

VOLPE,  ARNOLD  (July  9,  1869,  Kovno, 
Russia),  in  1884-87  studied  violin  at  the 
Warsaw  Musical  Institute  with  Isidor  Lotto 
and  in  1887-91  at  the  Petrograd  Conservatory 
with  Auer,  followed  by  work  in  theory  and 
composition  in  1893-97  with  Soloviev.  In 
1898  he  came  to  New  York,  where  in  1902  he 
founded  the  Young  Men's  Symphony  Orchestra 
and  in  1904  the  Volpe  Symphony  Orchestra. 
In  1910  he  also  undertook  the  direction  of  the 
orchestra  of  the  Brooklyn  Institute,  and  in 
1910-14  and  1919  conducted  series  of  municipal 
concerts  in  New  York.  In  1916  he  established 
his  own  music-school.     [  R.8  ] 


w 


WADDEL,  FRANCES  E.  See  Colleges, 
3  (Geneva  C,  Pa.). 

WADE,  HENRY  T.  See  Colleges,  2 
(Lake  Erie  C,  Ohio). 

WAIN  WRIGHT,  Miss.     See  Register.  1. 

WAINWRIGHT,  JONATHAN  MAYHEW 
(1792-1854).  See  Register,  3,  and  Tune- 
Books,  1819. 

WALKER,  EDYTH  (b.  1870).  See  Reg- 
ister, 8. 

t  WALLACE,  WILLIAM  (July  3,  1860, 
Greenock,  Scotland).  See  article  in  Vol.  v. 
424-5.  His  'The  Passing  of  Beatrice'  was  the 
first  symphonic  poem  by  a  British  composer. 
In  1899  he  became  Bantock's  assistant  in 
conducting  daily  concerts  at  Brighton,  and 
later,  in  the  latter's  absence,  edited  'The 
New  Quarterly  Musical  Review'  for  about 
half  its  existence.  He  prepared  the  analytical 
program  for  the  concert  in  London  on  Dec. 
15,  1896,  which  called  attention  to  many 
new  British  composers.  He  has  been  active 
as  secretary  of  the  Society  of  British  Com- 
posers and  honorary  secretary  of  the  Phil- 
harmonic Society.  In  1911  he  was  one  of 
the  composers  chosen  for  orchestral  repre- 
sentation at  the  Congress  of  the  I.  M.  G., 
and  also  at  the  Festival  of  British  Music  in 
1915.  During  the  war  he  was  in  service  as 
ophthalmologist.  In  the  list  of  compositions 
note  that  the  date  of  the  cantata  'The  Massacre 
of  the  Macpherson'  is  1899  and  that  of  the 
song-cycle  'Lords  of  the  Sea'  is  1901,  and  that 
a  large  number  of  works  are  published  by 
Schott,  Bayley  &  Ferguson,  Stainer  &  Bell, 
Cramer,  Ricordi,  Boosey,  etc.  'The  Outlaw' 
was  performed  in  1913.  He  has  made  many 
translations  of  texts,  as  of  Berlioz'  'The 
Damnation  of  Faust,'  Missa's  'Muguette,' 
Strauss'  'Feuersnot,'  Leroux'  'Le  Chemineau' 
(Richepin's  text),  Delius'  'A  Mass  of  Life,' 
cantatas  by  Weingartner  and  Krug-Waldsee, 
and  many  songs  by  Sibelius  and  Weingartner. 
He  is  author  of  a  mystery-play.  The  Divine 
Surrender,  1895,  The  Musical  Faculty,  1914, 
besides  numerous  articles. 

WALLER,  FRANK  LAIRD.  See  Register, 
9. 

WALTER,  GEORGE  WILLIAM  (1851- 
1911).     See  Register,  5. 

WALTER,  THOMAS  (1696-1725).  See 
Tune-Books,  1721. 

WALTER,  WILLIAM  HENRY  (1825-  ?  ). 
See  Tune-Books,  1848. 

WARD,  FRANK  EDWIN  (Oct.  7,  1872, 
Wysox,  Pa.),  in  1892-97  studied  in  New 
York  with  Spanuth  (piano),  J.  P.  Lawrence 
(organ  and  theory),  Pearce  (theory)  and 
Macfarlane    (organ),    and   in    1898-1903   was 


under  MacDowell  at  Columbia  University, 
winning  the  Mosenthal  fellowship.  In  1902-13 
he  was  organist  at  the  University,  and  also  in 
1900-05  at  Rye,  N.  Y.,  since  1902  at  Temple 
Israel  and  since  1906  at  Holy  Trinity.  Since 
1909  he  has  had  charge  of  theory-classes  at 
Columbia.     His  works  include 

Sonata  No.  1,  in  E  minor,  op.  1,  for  violin  and 

piano. 
Magnificat  and  Nunc  Dimittis  in  E-flat,  op.  2. 
Sonata  No.  2,  in  Q,  op.  9,  for  violin  and  piano. 
Rhapsodie  in  F  minor,  op.  10,  for  violin  (or  'cello) 

and  piano. 
'Rhapsodic  Bohdme,'  op.  12,  for  two  pianos. 
Scherzo,  'Peter  Pan,'  op.  13,  for  orchestra. 
Magnificat  and  Nunc  Dimittis  in  F,  op.  14. 
Sonata  No.  1,  in  F  minor,  op.  15,  for  organ. 
Quartet  in  F  minor,  op.  18,  for  piano  and  strings. 
Lenten  Cantata,  'The  Saviour  of  the  World,'  op. 

20,  for  soli,  chorus  and  orchestra. 
Quartet    in    C    minor,    op.    22,    for    strings    (Nat. 

Federation  of   Musical   Clubs  prize,   1917). 
Christmas   Cantata,   'The    Divine  Birth,'  op.  23, 

for  soli,  chorus  and  organ. 
Communion  Service  in  A-flat,  op.  24. 
Symphony  No.  1,  'Shakespearean  Moods,'  op.  25. 
Solemn  Mass  in  G  minor,  op.  29. 
'An  Ocean  Rhapsody,'  op.  31,  for  orchestra  (also 

for  violin,  'cello,  harp  and  organ). 
Quartet  in  G  minor,  for  strings. 
Trio  for  piano,  violin  and  'cello. 
Sonata  No.  2,  in  D  minor,  for  organ. 
Also  about  30  anthems ;   many  songs,  opp.  4,  6,  7, 

27,  30;   part-songs,  opp.  8,  11,  21 ;   organ-pieces, 

opp.  16,  17,  19,  26,  33,  35;    piano-pieces,  opp. 

3,  5,  28,  34 ;  etc.  [  R.8  ] 

WARE,  HARRIET  (Aug.  26,  1877,  Wau- 
pun.  Wis.),  after  graduating  from  Pillsbury 
Academy  in  Minnesota,  studied  piano  with 
William  Mason  in  New  York.  Vocal  work  with 
Mme.  La  Grange  in  Paris  followed,  and  com- 
position with  Sigismond  Stojowski  there,  and 
with  Kaun  in  Berlin.  Her  published  compo- 
sitions are  the  cantata  'Sir  Oluf,'  for  women's 
voices,  soprano  and  baritone  solos  and  or- 
chestra; 'Undine,'  a  lyric  tone-poem  (words 
by  Edwin  Markham) ;  'The  Cross,'  for 
voice  and  piano  or  orchestra  (words  by  Mark- 
ham)  ;  'A  Day  in  Arcady,'  song-cycle  for 
two  voices ;  many  songs  and  piano-pieces. 
The  most  important  work  in  manuscript  is 
a  piano-concerto.  She  has  made  many 
appearances  as  composer-pianist.     [  R.9  ] 

WARE,  HELEN  (Sept.  9,  1887,  Woodbury, 
N.  J.),  began  the  violin  with  Frederic  Hahn 
in  Philadelphia,  and  at  the  University  there 
studied  harmony  and  counterpoint  with 
Clarke.  She  then  spent  two  years  under 
Sevcik  at  Pisek  and  Vienna,  and  two  with 
Hubay  at  Budapest.  Making  her  debut  in 
recital  at  Budapest  in  1912,  she  was  the  first 
American  violinist  to  tour  in  Hungary.  The 
bent  of  her  interest  is  shown  by  the  booklet 


399 


400 


WARNER 


WEBB 


Poetry  and  Power  of  Hungarian  and  Slav 
Music,  and  by  many  articles  on  this  subject 
in  musical  journals.  Besides  much  European 
experience,  she  has  twice  toured  throughout 
America.  Lately  she  has  given  more  time  to 
composition  than  to  concerts.  Her  works 
for  violin  and  piano  include  'Hungarian 
Camp-Songs'  (Presser),  a  'Hungarian  Love- 
Song'  (Presser),  the  Hungarian  phantasy 
'Cinka  Panna'  (Carl  Fischer),  the  cradle- 
song  'Gentle  Shadows'  (Witmark),  a  'Caprice 
Genett'  and  other  transcriptions  (C.  Fischer, 
Schirmer),  besides  many  songs.     [  R.IO  ] 

WARNER,  JAMES  F.     See  Register,  4. 

WARNERY,  EDMOND  (b.  1876).  See 
Register,  10. 

WARNKE,  HEINRICH  (b.  1871).  See 
Register,  9. 

WARREN,  C.     See  Tune-Books,  1855. 

WARREN,  GEORGE  WILLIAM  (Aug. 
17,  1828.  Albany,  N.  Y.  :  Mar.  17,  1902, 
New  York),  had  his  general  education  at 
Racine  University,  but  was  self-taught  in 
music.  In  1846-58  he  was  organist  at  St. 
Peter's  in  Albany,  and  for  two  years  at  St. 
Paul's.  In  1860  he  came  to  Brooklyn  and  for 
ten  years  was  at  Holy  Trinity.  From  1870 
until  his  death  he  was  organist  at  St.  Thomas's 
in  New  York.  He  composed  much  church- 
music  and  some  piano-pieces,  and  edited 
Warren's  Hymns  and  Tunes,  as  sung  at  St. 
Thomas's  Church,  1888.     [  R.4  ] 

WARREN,    RICHARD    HENRY    (Sept. 

17,  1859,  Albany,  N.  Y.),  the  son  and  pupil 
of  the  preceding,  in  1880-86  was  organist  at 
All  Souls'  in  New  York,  in  1886-1905  at  St. 
Bartholomew's  and  since  1907  at  the  Church 
of  the  Ascension.  In  1886-95  he  was  con- 
ductor of  the  Church  Choral  Society,  which  he 
founded,  and  brought  out  with  it  many  impor- 
tant choral  works,  including  some  not  before 
heard  in  America  (Parker's  'Hora  Novissima' 
was  written  for  it).  In  1905  he  gave  summer- 
concerts  of  orchestral  music  at  St.  Nicholas 
Garden.  His  works  include  several  operettas 
(1880-1899),  the  romantic  opera  'Phyllis' 
(1900,  New  York),  some  works  for  orchestra, 
a  string-quartet,  much  church-music  and 
songs.     [  R.7  ] 

WARREN,     SAMUEL     PROWSE     (Feb. 

18,  1841,  Montreal,  Que.  :  Oct.  7,  1915, 
New  York),  the  son  of  the  organ-maker  S. 
R.  Warren  (see  below),  began  organ-study  at 
eleven,  and  early  played  at  St.  Stephen's 
Chapel  in  Montreal  and  at  the  American 
Church.  In  1861-64  he  was  in  Berlin,  taking 
piano  with  Gustav  Schumann,  organ  and 
theory  with  Haupt  and  instrumentation  with 
Wieprecht.  After  two  years  again  in  Mon- 
treal, in  1866-68  he  was  organist  at  All  Souls' 
in  New  York,  whence  in  1868  he  moved  to 
Grace  Church,  continuing,  save  for  two  years 


at  Trinity  (1874-76),  till  1894  and  becoming 
one  of  the  foremost  church-musicians  in  the 
country.  In  1880-88  he  also  conducted  the 
New  York  Vocal  Union.  As  a  concert- 
player  he  was  held  in  universal  esteem,  giving 
hundreds  of  recitals  in  New  York  alone.  He 
was  a  founder  of  the  A.  G.  O.,  and  the  teacher 
of  many  notable  organists.  His  standards 
were  of  the  highest  and  he  was  able  to  transmit 
them  to  his  pupils.  He  composed  much 
church-music,  vocal  and  instrumental,  part- 
songs  and  piano-pieces,  and  made  a  long 
series  of  fine  organ-transcriptions  of  orchestral 
works.  He  had  a  remarkable  musical  library. 
[  R.5  ] 

WARREN,  SAMUEL  RUSSEL  (d.  1882). 
See  Register,  3. 

WARRINER,     SOLOMON     (1778-1860). 
See  TuNE-BooKS,  1813. 
T' WASHBURN,    JAPHET    COOMBS.     See 

TUNE-BoOKS,  1813. 

WASS,  EDWARD  HAMES  (b.  1874).  See 
Colleges,  1  (Bowdoin  C,  Me.). 

WATSON,  HENRY  C.  (1818-1875),  See 
Register,  4. 

WATT,  CHARLES  E.     See  Register,  8. 

WA-WAN  PRESS,  THE,  was  a  publishing 
enterprise  set  on  foot  by  Arthur  Farwell  in  1901 
at  Newton  Center,  Mass.  Its  stated  object  was 
'  primarily  to  publish  the  most  progressive  and 
significant  compositions  by  American  com- 
posers, wholly  upon  considerations  of  artistic 
merit ;  and  secondarily  to  give  due  attention 
to  the  development  of  the  various  forms  of 
primitive  folk-songs  in  America.'  For  a  series 
of  years  it  energetically  fulfilled  both  of  these 
objects,  issuing  a  variety  of  works,  some  of 
them  of  large  dimensions,  by  about  forty  Amer- 
ican composers,  including  a  striking  number 
of  settings  or  idealizations  of  Indian  and  Negro 
materials.  It  was  one  of  the  most  influential 
factors  in  stimulating  interest  in  types  of  work 
that  had  previously  not  received  proper  atten- 
tion. The  good-will  of  the  enterprise  has  re- 
cently been  transferred  to  G.  Schirmer,  Inc.,  in 
New  York. 

WEAD,  CHARLES  KASSON  (b.  1848). 
See  Register,  9. 

WEAVER,  JOHN  KNOWLES  (b.  1868). 
See  Colleges,  3  (Kendall  C,  Okla.). 

WEAVER,  MIRIAM  H.  See  Colleges, 
3  (Wittenberg  C,  Ohio). 

WEBB,  FRANK  RUSH  (b.  1851).  See 
Register,  6. 

WEBB,  GEORGE  JAMES  (June  24,  1803, 
near  Salisbury,  England  :  Oct.  7,  1887, 
Orange,  N.  J.),  after  study  with  Alexander 
Lucas  in  Salisbury,  became  organist  at  Fal- 
mouth, but  in  1830  resigned  to  come  to  Boston. 
There  he  was  organist  at  the  Old  South  Church 
and  soon  became  an  intimate  associate  of 
Lowell    Mason   in   various   musical   projects. 


WEBB 


WELD 


401 


He  was  his  assistant  in  teaching  children's 
classes  and  they  together  founded  the  Boston 
Academy  of  Music  in  1833.  He  was  not  only 
an  excellent  singing-teacher,  but  a  good 
conductor.  He  was  influential  in  furthering 
choral  music  of  a  high  class  and  before  1855 
was  efficient  in  directing  the  Musical  Fund 
Society's  orchestra.  In  1870  he  removed  to 
Orange,  N.  J.,  but  continued  to  teach  in  New 
York  till  his  retirement  in  1885.  For  his 
publications,  see  Tune-Books  (partly  under 
Mason).  He  composed  some  anthems,  part- 
songs  and  songs.* 

WEBB,  THOMAS  SMITH  (d.  1819).  See 
Register,  3. 

WEBER,  ALBERT  (1828-1879).  See 
Register,  4. 

WEBER  PIANO  COMPANY,  THE,  of 
New  York,  is  the  present  name  of  the  business 
established  in  1852  by  Albert  Weber  and 
from  1879  carried  forward  by  Albert  Weber, 
Jr.  From  about  1870  its  instruments  became 
generally  recognized  as  having  a  special 
beauty  of  tone,  as  well  as  mechanical  finish, 
so  that  they  received  many  awards  in  com- 
petitions. Since  1903  the  Company  has 
formed  part  of  the  jEolian,  Weber  Piano  & 
Pianola  Co.  The  annual  output  of  this 
division  is  about  5000  instruments. 

WEIDIG,  ADOLF  (Nov.  28,  1867,  Ham- 
burg, Germany),  was  the  son  of  an  orchestral 
player  and  was  educated  in  the  Hamburg 
schools,  studying  music  also  in  the  Con- 
servatory under  Riemann,  Von  Bernuth  and 
Bargheer.  Later  he  graduated  at  the  Munich 
Conservatory  in  1891,  having  worked  with 
Rheinberger  and  Abel.  In  1888  he  won  the 
Mozart  prize  at  Frankfort  with  a  string- 
quartet.  In  1892  he  came  to  Chicago,  becom- 
ing one  of  the  first  violins  in  the  Thomas 
Orchestra  and  playing  viola  in  the  Spiering 
Quartet.  Since  1893  he  has  been  connected 
with  the  American  Conservatory,  teaching 
violin  and  theory,  and  from  1898  one  of  its 
directors.  He  has  exerted  a  wide  and  whole- 
some influence  as  teacher,  and  has  often 
appeared  as  orchestral  conductor  both  in 
America  and  in  Europe,  often  of  his  own 
compositions.  He  has  written  a  symphony 
in  C  minor,  a  symphonic  suite  in  three  move- 
ments, the  tone-poem  'Semiramis,'  three 
overtures,  a  suite  for  string-orchestra,  three 
string-quartets  (D  minor,  A  and  C  minor), 
a  string-quintet,  and  published  a  Capriccio 
and  'Three  Episodes'  for  orchestra  (Schott), 
a  string-quartet  in  C  (Schott),  a  piano-trio 
(Augener) ,  a  suite  for  violin'and  piano  (Schott) , 
threej' Morceaux  de  Salon'  for  violin  and  piano 
(Schott),  a  Serenade  for  strings  (Summy),  an 

*  The  well-known  tune  bearing  his  name,  however, 
is  adapted  from  the  secular  song  '  'Tis  dawn,  the  lark 
is  singing.' 

2d 


'Italian'  suite  for  violin  and  piano,  the  song- 
cycle  'The  Buccaneer,'  10  a  cappella  choruses, 
and  a  large  number  of  lesser  pieces  for  violin 
and  piano  or  for  piano,  besides  about  25  songs. 
(Ditson,  Carl  Fischer,  Silver,  Burdett  &  Co., 
etc.).     [  R.8  ] 

WEIL,  HERMANN  (b.  1878).  See  Reg- 
ister, 10. 

WEIL,  OSCAR  (b.  1839).     See  Register,  5. 

t  WEINGARTNER,  PAUL  FELIX,  Edler 
von  Mlinzberg  (June  2,  1863,  Zara,  Dalmatia). 
See  article  in  Vol.  v.  488.  He  resigned  as 
conductor  at  the  Vienna  Opera  in  1910,  but 
continued  as  symphony-conductor.  In  1912- 
14  he  was  capellmeister  at  the  Hamburg 
Stadt-Theater,  and  from  1914  was  court- 
director  at  Darmstadt.  Besides  extensive 
tours  as  conductor  in  the  whole  of  Europe 
except  Russia,  he  has  visited  the  United  States 
several  times,  in  1905  leading  four  concerts 
for  the  New  York  Philharmonic  Society,  in 
1906  making  a  tour  with  the  Symphony 
Society,  and  in  1912  and  '13  appearing  as 
conductor  of  opera  with  the  Boston  Opera 
Company.  His  first  wife  was  Marie  Juillerat, 
the  second  the  Baroness  Feodora  von  Dreifus, 
and  the  third,  from  1913,  the  operatic  soprano 
Lucille  Marcel.  To  the  list  of  works  add  the 
operas  'Kain  und  Abel'  (1914,  Darmstadt) 
and  'Die  Dame  Kobold'  (1916,  Darmstadt), 
incidental  music  to  Voss'  '  Friihlingsmarchen- 
spiel'  and  Weiser's  version  of  'Faust'  (both 
1908,  Weimar),  Symphony  No.  3,  in  E,  op. 
49,  a  quintet  for  clarinet,  strings  and  piano, 
op.  50,  and  various  songs  and  men's  choruses. 
For  a  full  list  of  his  books  and  of  critical  writing 
about  him,  see  Baker,  Diet,  of  Musicians,  p. 
1022. 

WEISBACH,  HARRY  (b.  1886).  See  Reg- 
ister, 8. 

WEISS,  CARL  THOMAS  (b.  1844).  See 
Register,  6. 

WELD,  ARTHUR  CYRIL  GORDON 
(Mar.  4,  1862,  Jamaica  Plain,  Mass.  : 
Oct.  11,  1914,  near  West  Point,  N.  Y.),  after 
early  piano-lessons,  in  1879-87  studied  com- 
position and  orchestration  at  Dresden  with 
Becker,  Foerster  and  Von  Comiar-Fiedlitz, 
at  Berlin  with  Neumann  and  at  Munich  with 
Rheinberger,  Abel  and  Levi,  graduating  from 
the  Munich  Conservatory  with  honors.  While 
at  Munich  he  wrote  several  large  works  that 
were  there  performed,  including  a  string- 
quartet  in  C  (1885,  one  movement  given  by 
the  Kneisel  Quartet,  1890),  a  Romanza  for 
small  orchestra  (1886,  also  Boston,  1887), 
an  Andante  and  Scherzo  for  septet  (1886) 
and  the  orchestral  suite  'Italia'  (1887,  also 
at  Worcester  Festival,  1888,  and  by  the 
Boston  Symphony  Orchestra,  1890).  Other 
works  of  this  period  are  a  '  Benedictus  Dominus 
Israel'   for  soli,   double  quartet,   chorus  and 


402 


WELLS 


WHEELDON 


orchestra,  an  'Ode  in  Time  of  Peace'  for 
double  quartet  and  organ  (1890,  Boston),  four 
Madrigals  (1890)  and  many  songs  of  which 
several  are  published  (Schmidt).  After  a  time 
he  went  to  Milwaukee,  where  he  was  dramatic 
critic  and  conductor  of  an  orchestra.  Later  he 
came  to  New  York,  where  he  conducted  the 
first  productions  of  the  comedy  '  Florodora ' 
and  became  general  director  for  the  H.  W. 
Savage  Company.  In  1913  he  went  to  London 
to  conduct  performances  of  '  Adele.'  He  was 
intimate  with  the  actor  James  K.  Hackett,  and 
in  1914  took  charge  of  the  musical  features  in 
his  plays.  He  wrote  several  light  operas,  inci- 
dental music  for  various  plays  and  many  songs. 
He  died  suddenly  while  driving  his  automobile. 
[  R.7  ] 

WELLS,  HOWARD,  who  was  born  at 
Rockford,  111.,  after  four  years  of  piano-study 
in  Chicago  with  Godowsky  and  two  with 
Mrs.  Zeisler,  appeared  si.x  times  as  soloist 
with  the  Thomas  Orchestra,  besides  being 
heard  frequently  in  recitals.  In  1907  he 
went  to  Vienna  for  study  with  Leschetizky, 
with  whom  he  was  associated  seven  years. 
In  1908  he  became  one  of  his  assistants  and 
after  moving  to  Berlin  continued  to  take 
pupils  from  Berlin  to  Vienna.  He  lived  in 
Berlin  five  years,  concertizing  in  various 
musical  centers  and  appearing  with  promi- 
nent orchestras.  At  the  outbreak  of  the  war 
he  returned  to  Chicago  and  established 
himself  as  teacher.  He  has  published  Ears, 
Brain  and  Fingers,  a  text-book  for  pianists 
and  teachers,  1914.     [  R.9  ] 

WELS,  CHARLES  (1825-1906).  See  Reg- 
ister, 4. 

WELTE,  EMIL  (b.  1841).     See  Register,  5. 

WERRENRATH,  GEORGE  (1838-1898). 
See  Register,  6. 

WERRENRATH,  REINALD  (Aug.  7, 
1883,  Brooklyn),  the  son  of  the  tenor  George 
Werrenrath  (see  above),  besides  early  violin- 
training,  had  vocal  lessons  from  his  father. 
His  general  education  was  in  the  Brooklyn 
public  schools  and  at  New  York  University, 
where  he  graduated  in  1905.  His  later 
studies  were  with  Dufft,  Mees,  Stephens 
and  Maurel,  the  last  preparing  him  for  operatic 
work.  His  first  important  engagement  was 
at  the  Worcester  Festival  of  1907.  He  has 
since  sung  throughout  the  country,  appearing 
with  all  the  leading  orchestras  and  at  various 
festivals.  His  operatic  d6but  as  baritone 
was  at  the  Metropolitan  Opera  House  in  1919 
in  'I  Pagliacci'  and  as  Valentine  in  'Faust.' 
In  1912-16  he  organized  and  conducted  the 
University  Heights  Choral  Society.  He  has 
written  the  men's  choruses  'The  Cavalier's 
Song' and 'Siesta'  (Schirmer)  and  edited  The 
New  Arion,  for  men's  voices,  and  two  volumes 
of  Scandinavian  songs  (both  Ditson).    [  R.9  ] 


WERTIME,  RUDOLPH.     See  Colleges, 

2  (Wilson  C,  Pa.). 

WEST,  ELISHA.     See  Tune-Books,  1802. 
WEST,  J.     See  Register,  2. 
WESTBROOK,  ARTHUR  E.     See  State 
Universities  (Kansas  State  C). 

WESTLAKE,  A.  VERNE.     See  Colleges, 

3  (Taylor  U.,  Ind.). 

WESTRAY,  the  Misses.     See  Register,  2. 

WETMORE,  TRUMAN  S.  (1774-1861). 
See  Tune-Books,  1798. 

WETZLER,  HERMANN  HANS  (Sept. 
8,  1870,  Frankfort-am-Main,  Germany),  in 
1885-92  studied  at  the  Hoch  Conservatory  in 
Frankfort,  his  teachers  being  Frau  Schumann 
(piano),  Heermann  (violin),  Scholz  (com- 
position), Knorr  (counterpoint)  and  Humpsr- 
dinck  (score-reading).  He  then  came  to  Now 
York  and  in  1897-1901  was  organist  at  Trinity 
Church.  In  1902  he  gave  orchestral  concerts 
at  Carnegie  Hall,  leading  to  the  Wetzler 
Symphony  series  in  1903  (Richard  Strauss 
directed  four  programs  of  his  own  works 
in  February  and  March,  1904).  Returning 
to  Germany,  he  has  since  been  conductor  at 
the  city-theaters  of  Hamburg  in  1905-08, 
Elberfeld  in  1905-09,  Riga  in  1909-13,  Hall* 
in  1913-15,  Llibeck  in  1915-19,  and  Cologne 
since  1919.  He  has  also  led  symphony- 
concerts  in  Petrograd,  Berlin  and  other  cities. 
He  has  written  the  symphonic  poem  '  Engels- 
konzert,'  a  concert-overture,  Easter  music  for 
wind-instruments  and  organ,  etc.     [  R.8  ] 

WEYMAN,  WESLEY  (July  6,  1877, 
Boston),  is  of  old  Colonial  ancestry.  His 
early  education  was  directed  toward  languages 
and  literature,  and  he  graduated  from  Harvard 
in  1898,  having  taken  theory-courses  under 
Paine.  In  1898-1901  he  was  one  of  the  latest 
pupils  of  William  Mason  in  New  York,  where 
he  began  giving  recitals  in  1901.  In  1905-08 
he  taught  at  the  Institute  of  Musical  Art, 
and  in  1909-13  he  had  further  studies  with 
Leschetizky  and  Godowsky  in  Vienna,  with 
Moszkowski  in  Paris,  with  Mathay  and 
Bowen  in  London,  and  with  Safonov  at 
various  places.  From  1912  he  appeared  as 
recitalist  in  London  and  made  tours  in  Ger- 
many and  Scandinavia.  In  1914  he  returned 
to  New  York  and  Boston,  occupied  largely 
with  teaching  and  literary  work.  He  is  an 
expert  in  New  England  genealogy,  and  has 
published  histories  of  the  Standish  and 
Ramsdell  families.     [  R.9  ] 

WHARTON,  MARY.  See  Colleges,  2 
(Belhaven  C,  Miss.). 

WHEELDON,  HERBERT  ARTHUR 
(June  6,  1864,  Derby,  England),  was  trained 
as  organist  by  Crow  in  Ripon,  Turpin  and 
Pearce  in  London.  He  became  a  fellow  of 
the  R.  C.  O.  in  1889  and  took  his  Mus.B.  at 
Canterbury  in  1890.     In  1882-85  he  played 


WHEELER 


WHITING 


403 


at  Ripon,  in  1889-90  at  Eastbourne,  in  1891-93 
at  Ipswich  and  in  1897-1907  in  London,  from 
1896  at  St.  Saviour's  in  Upper  Chelsea.  In 
1907-13  he  was  organist  at  the  Metropolitan 
Church  in  Toronto  and  in  1908-15  examiner 
in  music  for  Toronto  University.  In  1911-13 
he  gave  over  500  daily  recitals,  covering  a 
large  repertoire  of  classic  and  modern  organ- 
music.  Through  his  efforts,  after  his  resigna- 
tion the  position  of  organist  in  this  church 
was  endowed  and  the  organist  must  hold 
a  degree  from  one  of  the  leading  English 
universities  and  engage  to  give  25  recitals 
annually.  He  has  published  Evening  Services 
in  A  and  B-flat  (Novello)  and  many  organ- 
pieces  (.Novello,  Rogers,  Gray,  White-Smith). 
[  R.9  ] 

WHEELER,  LYMAN  WARREN  (1837- 
1900).    See  Register,  5. 

WHELPLEY,  BENJAMIN  LINCOLN  (b. 
1864).     See  Register,  7. 

WHITE,  ALICE  H.  See  Colleges,  3 
(Colby  C,  Me.). 

WHITE,  CAROLINA  [Carolyn]  (Dec.  23, 
1883,  Dorchester,  Mass.),  was  trained  as 
concert-soprano  by  Weldon  Hunt  in  Boston, 
where  she  began  appearances  in  1905.  In 
1907  she  studied  in  Naples  with  Sebastian 
and  Paolo  Longone,  assistant-director  at 
San  Carlo  (whom  she  married  in  1910).  Her 
d6but  in  opera  was  at  San  Carlo  as  Gutrune 
in  'Die  Gotterdammerung'  in  1908.  During 
the  next  two  years  she  sang  in  'Aida,'  'Mefis- 
tofele,'  'Tosca,'  'Manon  Lescaut,'  'Madama 
Butterfly,'  'La  Gioconda'  and  'Iris'  at  Venice, 
Rome,  Milan  and  Lucerne.  In  1910-14  she 
was  with  the  Chicago  Opera  Company,  appear- 
ing first  as  Santuzza.  In  1911  she  sang  the 
role  of  Countess  in  the  first  American  per- 
formance of  'II  Segreto  di  Susanna'  and  that 
of  MalieUa  in  that  of  '  I  Giojelli  della  Madonna' 
in  1912.  In  1915-17  she  was  heard  in  concert 
and  has  since  sung  in  light  opera.     [  R.9  ] 

WHITE,  EDWARD  L.  See  Register,  4, 
and  Tune-Books,  1846. 

WHITE,  HENRY  KIRK  (d.  1907).  See 
Register,  4. 

WHITE,  JOHN  (1785-1865).  See  Regis- 
ter, 3. 

WHITE,  JOHN  (Mar.  12,  1855,  West 
Springfield,  Mass.  :  July  18,  1902,  Bad- 
Nauheim,  Germany),  in  1861-63  studied 
organ  with  Buck  and  then  went  to  Berlin 
for  organ  and  counterpoint  with  Haupt.  In 
1880-83  he  was  organist  at  St.  Francis  Xavier's 
in  New  York,  and  again  went  to  Germany, 
this  time  to  study  composition  with  Rhein- 
berger  in  Munich.  In  1887-96  he  was  organist 
at  the  Church  of  the  Ascension  in  New  York. 
The  rest  of  his  life  was  spent  in  Munich. 
He  was  an  accomplished  player,  gave  many 
recitals   both   in   America   and   in    Germany, 


and  some  of  the  best  American  organists 
were  among  his  pupils.  He  composed  the  ora- 
torio 'Alpha  and  Omega,'  a  Missa  Solemnis, 
a  Requiem,  a  Te  Deum,  and  other  church- 
music.  He  also  edited  many  organ-pieces. 
[  R.7  ] 

WHITE,  JOSEPHINE,  nee  Sumption  (b. 
1879).  See  Colleges,  2  (Colorado  Woman's 
C). 

WHITEHILL,  CLARENCE  EUGENE 
(Nov.  5,  1871,  Marengo,  la.),  originally  was 
in  business  in  Chicago,  but  incidentally 
studied  voice  with  L.  A.  Phelps  and  sang 
in  church-choirs.  Mme.  Melba  and  Campanari 
induced  him  to  prepare  for  the  stage.  He 
went  to  Paris,  studied  with  Sbriglia  and 
Giraudet,  and  made  his  debut  as  Friar 
Lawrence  in  '  Rom6o  et  Juliette '  at  La  Monnaie 
in  Brussels  in  1899.  In  1900  he  sang  at 
the  Opera-Comique  in  Paris,  and  also  appeared 
as  leading  baritone  with  the  H.  W.  Savage 
English  Opera  Company  at  the  Metropolitan 
Opera  House  in  New  York,  singing  seventeen 
roles  in  a  short  season.  Returning  to  Ger- 
many, he  studied  with  Stockhausen  at  Frank- 
fort and  had  the  ad\'ice  of  Frau  Wagner  at 
Bayreuth  for  Wagnerian  parts.  He  filled 
engagements  at  Liibeck,  Elberfeld  and  Cologne 
(1903-08).  In  1909-11  he  was  at  the  Metro- 
politan Opera  House  in  New  York,  first 
appearing  as  Amfortas.  In  1911-15  he  was 
with  the  Chicago  Opera  Company  and  in 
1916  returned  to  the  Metropolitan.  He  has 
sung  at  Bayreuth  three  seasons,  at  Covent 
Garden  five  and  at  Munich  two.  His  greatest 
success  has  been  made  in  Wagnerian  roles. 
[  R.9  ] 

WHITEHOUSE,  HORACE.  See  Col- 
leges, 3  (Ohio  Wesleyan  U.). 

WHITHORNE  [Whittern],  EMERSON  (b. 
1884).     See  Register,  9. 

WHITING,  ARTHUR  BATTELLE  (June 
20,  1861,  Cambridge,  Mass.),  is  a  nephew 
of  George  E.  Whiting,  the  Boston  organist. 
He  studied  piano  with  Sherwood  at  the  New 
England  Conservatory,  and  harmony,  counter- 
point and  composition  with  Maas  and  Chad- 
wick.  At  the  Munich  Conservatory  in 
1883-85  he  was  in  the  classes  of  Rheinberger, 
Bussmayer  and  Abel.  During  1885-95  he 
lived  in  Boston,  where  he  composed  a  concert- 
overture  (1885,  Boston  Symphony  Orchestra), 
a  suite  for  strings  and  horns,  a"  Concerto  in  D 
minor  and  a  Fantasy  in  B-flat  minor  for  piano 
and  orchestra.  These  latter  he  has  played 
with  various  large  orchestras.  Since  1895 
he  has  lived  in  New  York,  composing  many 
anthems,  other  vocal  works  and  piano-pieces 
(Schirmer),  making  transcriptions  of  the 
toccatas  and  suites  of  Bach  and  Handel  for 
piano,  and  preparing  Damper-Pedal  Studies, 
2  vols.     Since  1907  he  has  been  largely  oc- 


404 


WHITING 


WHITNEY 


cupied  with  giving  concerts  of  chamber- 
music  at  Harvard,  Yale  and  Princeton 
Universities,  designed  with  a  definite  edu- 
cational purpose.  He  has  also  become  an 
authoritative  exponent  of  music  for  obsolete 
instruments,  and  from  1911  has  given  il- 
lustrative programs  upon  the  harpsichord, 
often  with  other  artists  in  ensemble.     [  R.7  ] 

WHITING,  GEORGE  ELBRIDGE  (Sept. 
14,  1842,  Holliston,  Mass.).  See  article  in 
Vol.  v.  517-8.  He  gave  up  his  work  at  the 
New  England  Conservatory  in  1897  and  at 
the  Church  of  the  Immaculate  Conception 
in  1910,  having  been  organist  at  the  latter 
for  about  thirty  years.  To  the  list  of  works 
should  be  added  the  choral  march  'Our 
Country,'  for  chorus  and  orchestra  (1909, 
inauguration  of  President  Taft),  four  concert- 
6tudes  for  organ  (Presser),  many  other  organ- 
pieces  (Novello,  Ditson),  various  collections 
of  organ-studies,  etc.,  a  Grand  Sonata  in  A 
minor  for  organ,  20  Preludes  and  Postludes 
for  advanced  performers,  2  vols.,  the  can- 
tata 'The  Tale  of  the  Viking,'  from  Long- 
fellow (Schirmer),  three  masses  on  plain-chant 
melodies,  in  B-flat  and  F,  two  sets  of  vespers 
and  offertories  for  the  Catholic  service,  and 
many  other  ritual  settings,  services  for  the 
Episcopal  Church,  anthems,  part-songs  and 
songs,  besides  new  organ-accompaniments 
for  several  works,  including  Rossini's  Stabat 
Mater.     [  R.4  ] 

WHITMER,  THOMAS  CARL  (June  24, 
1873,  Altoona,  Pa.),  after  graduating  from 
Franklin  and  Marshall  College,  studied  in 
Philadelphia  and  New  York  with  Gilchrist, 
Jarvis  and  S.  P.  Warren.  In  1899-1909  he 
was  music-director  at  Stephens  College  in 
Missouri,  in  1909-16  at  the  Pennsylvania 
College  for  Women  in  Pittsburgh,  and  in 
1916-19  taught  at  the  Pittsburgh  Musical 
Institute.  Since  1916  he  has  been  organist 
at  the  Sixth  Presbyterian  Church  in  Pitts- 
burgh. His  work  as  composer  has  but 
gradually  come  to  be  known  (see  appreciation 
in  The  Art  of  Music,  iv.  428-30).  It  includes 
six  music-dramas  or  '  Mysteries '  —  '  The 
Creation,'  'The  Covenant,'  'The  Nativitjs' 
'The  Temptation,'  'Mary  Magdalene,'  'The 
Passion '  —  for  full  orchestra  (text  by  com- 
poser), with  an  explanatory  essay  'Concerning 
a  National  Spiritual  Drama';  a  'Syrian 
Ballet'  in  four  movements,  for  orchestra, 
(1918,  Pittsburgh  and  Philadelphia) ;  an 
'Elegiac  Rhapsody'  for  low  voice,  chorus  and 
orchestra ;  Psalm  84,  for  alto,  chorus,  violin, 
harp  and  organ  (Pittsburgh) ;  an  '  Athenian ' 
sonata  in  D  minor,  for  violin  and  piano  (given 
many  times);  three  'Character-Moods'  and 
a  'Meditation'  for  piano  and  strings;  music 
for  the  Pittsburgh  Centennial  Pageant  in 
1916,  including  a  notable  'Hymn  to  America' ; 


the  men's  choruses  '  The  Keepers '  (a  cappella) 
and  'The  Song  of  a  City'  (Willis,  given  in 
Pittsburgh  and  New  York) ;  a  setting  of 
Tennyson's  'Strong  Son  of  God,'  for  baritone, 
unison  chorus  and  organ,  and  other  anthems ; 
a  long  list  of  songs,  many  with  orchestral 
accompaniment;  a  'Poem  of  Youth'  in  two 
movements,  for  piano  and  orchestra  (1914, 
M.  T.  N.  A.  meeting) ;  and  a  number  of 
organ-pieces.  He  has  written  Considerations 
on  Music,  The  Way  of  My  Mind,  1918,  and  the 
texts  for  his  'Mysteries'  and  for  'Symbolisms,' 
the  latter  a  series  of  six  dramas  that  he  has 
set  for  reader  and  piano,  besides  words  for 
other  works.  He  has  also  contributed  note- 
worthy articles  to  various  journals.     [  R.8  ] 

WHITNEY,  FLOSSIE  EMELINE.  See 
Colleges,  3  (Defiance  C,  Ohio). 

WHITNEY,  MYRON  WILLIAM  (Sept. 
5,  1836,  Ashby,  Mass.  :  Sept.  19,  1910, 
Sandwich,  Mass.),  came  to  Boston  in  1852, 
and  soon  began  to  study  singing  with  E.  H. 
Frost.  His  first  appearance  as  an  oratorio- 
bass  was  in  a  Christmas  performance  of 
'The  Messiah'  at  Tremont  Temple  in  1858. 
He  sang  in  concerts  and  oratorios  for  the  next 
ten  years,  and  then  studied  in  Florence  under 
Vannucini  and  in  London  under  Randegger. 
After  his  return  to  Boston  he  was  recalled  to 
England  for  a  season  of  concerts  and  festivals, 
but  from  1876  his  activities  were  confined  to 
America.  He  was  the  only  soloist  at  the  open- 
ing of  the  Centennial  Exposition  in  Philadel- 
phia in  1876.  He  made  two  tours  with  the 
Thomas  Orchestra,  and  he  was  one  of  the 
bassos  in  the  American  Opera  Company  in 
1886-87.  He  sang  with  the  Handel  and  Haydn 
Society  of  Boston,  the  New  York  Oratorio 
Society,  at  the  Cincinnati  Festivals  of  1873, 
'75,  '78  and  '80,  and  at  a  long  list  of  other 
festivals  and  oratorio-performances  through- 
out the  country.  With  the  Boston  Ideal 
Opera  Company  from  1879  he  was  the  leading 
basso,  and  for  many  years  was  successfully 
identified  with  light  opera.  In  1890  he 
retired  from  the  concert-stage.     [  R.4  ] 

WHITNEY,  SAMUEL  BRENTON  (June 
4,  1842,  Woodstock,  Vt.  :  Aug.  3,  1914, 
Brattleboro,  Vt.),  was  trained  as  organist 
by  local  teachers,  by  Charles  Wels  in  New 
York,  and  chiefly  by  Paine  in  Boston.  In 
1871  he  became  organist  at  the  Church  of 
the  Advent  in  Boston,  where  he  established 
a  choral  service  of  rare  excellence  and  wide 
renown.  He  was  a  leader  in  the  establish- 
ment of  the  Massachusetts  Diocesan  Choir 
Guild  in  1876,  and  was  its  choir-master  for 
many  years.  His  Communion  Ser^dce  in 
G  was  composed  for  his  25th  anniversary 
at  the  Church  of  the  Advent  (1896)  and  the 
Magnificat  and  Nunc  Dimittis  in  E-flat  for 
the  35th   (1906).     In   1908  he  resigned,  but 


WHITTEMORE 


WILLIAMS 


405 


continued  as  director  emeritus.  An  excellent 
organist,  he  gave  many  recitals  in  his  earlier 
years,  and  was  noted  for  his  Bach  plajdng 
and  for  improvisations.  He  was  professor  of 
organ-playing  and  lecturer  at  the  Boston 
University  and  the  New  England  Con- 
servatory, and  at  the  latter  taught  classes 
in  church-music.  He  directed  many  choir  and 
choral  festivals  throughout  New  England. 
His  compositions  included  a  piano-trio,  music 
for  piano  and  organ,  church-services,  anthems 
and  hymn-tunes.  He  was  a  founder  of  the 
A.  G.  O.,  and  an  examiner  in  the  American 
College  of  Musicians.     [  R.5  ] 

WHITTEMORE,  THOMAS  (1800-1861). 
See  Tune-Books,  1836. 

WHITTLESEY,  WALTER  R.  (b.  1861). 
See  Register,  8. 

WICKHAM,  FLORENCE  PAULINE 
(1882,  Beaver,  Pa.),  was  trained  as  an  operatic 
contralto  by  Alice  Groff  in  Philadelphia  and 
then  in  Berlin  by  Emmerich  and  Frau 
Mallinger.  In  1902  she  made  her  debut  at 
Wiesbaden  in  'Le  Prophfete.'  In  1904-05 
she  toured  in  America  with  the  H.  W.  Savage 
Company,  singing  Kundry  in  'Parsifal.' 
After  a  year,  when  she  was  guest  at  the  Theater 
des  Westens  in  Berlin,  in  1906-09  she  was 
engaged  at  the  Opera  at  Schwerin,  also  singing 
in  1907  at  Covent  Garden  and  in  1908  in 
Berlin.  In  1909-12  she  was  with  the  Metro- 
politan Opera  House  in  New  York.  Her 
repertoire  of  45  operas  includes  the  roles  of 
Amneris,  Kundry,  Ortrud,  Fricke,  Wal- 
traute,  Brangiine,  Magdalena,  Laura  (in  'La 
Gioconda'),  Emilia  (in  'Otello'),  Orfeo  and 
Adriano  (in  'Rienzi').  In  1911  she  married 
Eberhard  L.  Lueder  of  New  York.     [  R.9  ] 

tWIDOR,  CHARLES  MARIE  (Feb.  22, 
1845,  Lyons,  France).  See  article  in  Vol. 
V.  518-9.  In  1910  he  succeeded  Lenepveu 
as  member  of  the  Institut  and  in  1913  became 
secretary.  He  is  also  Chevalier  in  the  Legion 
d'Honneur.  Add  to  the  list  of  works,  besides 
the  eight  organ-' symphonies'  in  opp.  13  and 
42,  the  'Symphonic  Romane'  and  the  'Sym- 
phonic Gothique,'  a  string-quartet  in  A  minor, 
op.  66,  a  2nd  violin-sonata,  op.  79,  a  Choral 
and  Variations  for  harp  and  orchestra,  and 
a  3rd  orchestral  Symphony,  in  F  minor, 
with  organ.  He  is  author  of  Technique  de 
rOrchestre  Moderne,  1904  (2nd  ed.,  1906, 
and  in  German  and  English),  and  of  an  essay 
on  Greek  Music  in  relation  to  Gregorian  (1895), 
and  has  edited  L'Orgue  Moderne  and  (with 
Schweitzer)  a  monumental  edition  of  Bach's 
works  (Schirmer) .  Biographies  have  appeared 
by  Reynaud,   1900,  and  Rupp,   1912. 

WIGNELL,  THOMAS  (d.  1803).  See  Reg- 
ister, 2. 

WILCOX  &  WHITE  COMPANY,  THE, 
of   Meriden,    Conn.,    is  the   successor  of   the 


Wilcox  &  White  Organ  Co.,  which  was  formed 
in  1876  to  compete  with  the  Estey  Organ  Co. 
in  making  reed-organs,  the  original  founders 
being  H.  C.  Wilcox  and  J.  H.  and  H.  K. 
White.  Prior  to  1908  they  made  about  50,000 
organs.  The  present  company  was  formed  in 
1897.  They  have  made  a  specialty  of  the 
'Angelus,'  a  player-attachment  brought  out 
in  1895,  and  have  developed  a  large  business 
in  player-pianos  and  in  music-rolls.  Their 
'orchestral'  piano  has  a  set  of  reeds  included. 

WILD,  HARRISON  MAJOR  (Mar.  6, 
1861,  Hoboken,  N.  J.),  had  most  of  his  musical 
education  in  Chicago  under  Liebling,  Cres- 
wold  and  Eddy,  but  in  1878-79  also  studied 
in  Leipzig  with  Zwintscher,  Rust  and  Richter. 
Since  1876  he  has  been  almost  continuously 
an  organist  in  Chicago,  playing  at  the  Church 
of  the  Ascension  five  years,  at  Unity  Church 
thirteen  and  since  1895  at  Grace  Church, 
where  he  has  made  the  services  specially 
notable.  He  has  also  won  a  fine  reputation 
as  choral  conductor,  since  1898  leading  the 
Apollo  Musical  Club,  since  1902  the  Mendels- 
sohn Club  (men's  voices),  and  since  1905  the 
Mendelssohn  Club  of  Rockford.  With  the 
first  two  of  these  he  has  introduced  a  long 
list  of  important  works,  performed  with  great 
perfection.  He  is  also  active  as  an  organ- 
recitalist,  and  has  been  dean  of  the  Western 
Chapter  of  the  A.  G.  O.     [  R.6  ] 

WILD,  WALTER.  See  Colleges,  2  (Penn- 
sylvania C.  for  Women). 

WILDE,  EDWIN  ERNEST  (b.  1887). 
See  Colleges,  3  (Brown  U.,  R.  I.). 

WILKINS,  HERVE  D.  (1848-1913).  See 
Register,  5. 

WILLARD,  BENJAMIN  W.  See  Regis- 
ter, 3. 

WILLARD,  SAMUEL  (1776-1859).  See 
TuNE-BooKs,  1813. 

WILLCOX,  JOHN  HENRY  (1827-1875). 
See  Register,  4. 

WILLEKE,  WILLEM  (b.  1878).  See  Reg- 
ister, 9. 

WILLIAMS,  ALBERTO  (Nov.  23,  1862, 
Buenos  Aires,  Argentina),  while  at  the  Buenos 
Aires  Conservatory  secured  governmental  as- 
sistance for  study  in  Paris,  where  his  teachers 
were  Mathias  and  De  Beriot  in  piano,  Durand 
in  harmony,  and  Guiraud,  Godard  and  Franck 
in  composition.  After  his  return  in  1899  he 
conducted  symphony-concerts,  and  in  1903 
founded  the  Conservatorio  de  Musica  de 
Buenos  Aires,  which  has  grown  to  a  school 
of  over  1200  pupils,  with  branches  in  the 
principal  cities  of  the  Argentine  Republic. 
In  1900  he  gave  a  concert  of  his  works  with 
the  Philharmonic  Orchestra  in  Berlin.  He 
has  composed  three  symphonies,  three  suites, 
two  overtures  and  a  march  for  orchestra ; 
three  sonatas  for  violin  and  piano ;    a  sonata 


406 


WILLIAMS 


WITEK 


for  'cello  and  piano ;  a  piano-trio ;  many 
songs  and  piano-pieces.  He  has  published 
works  on  theory  and  also  five  volumes  of 
poems.     [  R.7  ] 

WILLIAMS,  HARRY  EVAN  (Sept.  7, 
1867,  Mineral  Ridge,  O.  :  May  24,  1918, 
Akron,  O.),  was  a  mine-  and  steel-mill  worker 
in  his  early  years,  and  he  sang  in  an  octet- 
club  which  attained  considerable  local  repu- 
tation.- For  four  years  he  studied  with  Mme. 
Louise  von  Feilitsch  in  Cleveland,  and  made 
his  first  appearance  as  tenor  in  1891  at  Gallon, 
O.,  though  his  real  d6but  was  at  the  Worcester 
Festival  of  1896.  In  New  York  he  then 
became  a  pupil  of  Ffran^on  Davies,  Ben  Da- 
vies,  Mrs.  Topping-Brown,  John  Dennis  Me- 
han  and  James  Sauvage.  Dissatisfied  with 
his  work,  he  retired  for  a  period  in  1904,  but 
reappeared  with  great  success  in  the  later 
years  of  his  life.  He  was  soloist  at  nearly 
all  the  principal  festivals  of  the  country, 
including  about  15  appearances  at  Worcester. 
He  gave  perhaps  1000  song-recitals,  after  1900 
exclusively  in  English ;  and  was  equally 
successful  in  song  and  oratorio.     [  R.8  ] 

WILLIAMS,  VICTOR  (1816-  ?  ).  See 
Register,  4. 

WILLIS,  RICHARD  STORRS  (1819- 
1900).  See  Register,  4,  and  Tune-Books, 
1850. 

WILLIS,  ROBERT.  See  Tune-Books, 
1834. 

WILSON,  GEORGE  H.     See  Register,  7. 

WILSON,  HENRY  (Dec.  2,  1828,  Green- 
field, Mass.  :  Jan.  8,  1878,  Hartford,  Conn.), 
was  musically  inclined  from  childhood,  but 
was  forced  to  learn  the  printer's  trade  for 
support.  Diligence  in  this  latter  enabled 
him  to  study  music  in  Boston  from  about 
1848,  though  double  labor  undermined  his 
health.  About  1850  he  became  teacher  and 
organist  at  St.  James'  in  Greenfield,  removing 
in  1854  for  a  few  months  to  Springfield.  A 
chance  meeting  with  Alexander  W.  Thayer 
led  to  their  going  to  Europe  together  and 
a  lifelong  friendship.  A  year's  study  in 
Leipzig  followed,  during  which  he  wrote 
entertaining  letters  for  the  Springfield  'Re- 
publican.' From  1855  for  twenty-two  years 
he  was  organist  at  Christ  Church  in  Hartford, 
going  for  a  short  time  afterward  to  Park 
Church.  The  peculiar  impress  of  his  per- 
sonality and  gifts  was  showii  by  the  tributes 
after  his  death,  including  addresses  by  Charles 
Dudley  Warner,  Bishop  Williams  and  Rev. 
N.  J.  Burton,  and  many  letters,  among  them 
those  of  J.  G.  Holland  and  Dudley  Buck. 
These  appreciations  were  gathered  into  a  small 
memorial  in  1878.  He  was  preeminently  a 
church-musician,  throwing  a  notable  emotion 
into  whatever  he  wrote  or  rendered.  His 
compositions  were  almost  wholly  for  church 


use.  They  lacked  solidity  and  balance,  but 
for  a  time  were  extremely  popular  and  effective. 
[  R.4  ] 

WILSON,  MORTIMER  (Aug.  6,  1876, 
Chariton,  la.),  in  1894-1900  studied  in  Chicago 
with  Jacobsohn,  Gleason  and  Middelschulte. 
In  1901-07  he  taught  theory  in  the  University 
School  of  Music  at  Lincoln,  Neb.,  and  theif 
had  three  years  in  Leipzig,  at  first  studying 
with  Sitt  and  Reger  and  then  teaching.  From 
1911  he  was  at  the  Atlanta  Conservatory  and 
conductor  of  the  Symphony  Orchestra,  and 
in  1916-18  taught  at  Brenau  College  in 
Gainesville,  Ga.  He  is  now  consulting-editor 
for  the  National  Academy  of  Music  in  New 
York.  He  has  written  The  Rhetoric  of  Music, 
1907.  His  published  works  include  'From 
My  Youth,'  op.  5,  8  miniatures  for  violin, 
'cello  and  piano ;  sonatas  in  D  and  E,  opp. 
14,  16,  for  violin  and  piano ;  7  organ-preludes, 
op.  7;  the  piano-suites  'In  Georgia,'  op.  25, 
'Suite  Rustica,'  op.  44a  and  'By  the  Wayside,' 
op.  446;  'Suwannee  Sketches,'  op.  39,  for 
violin  and  piano ;  nursery-songs  and  piano- 
pieces.  Unpublished  are  five  symphonies, 
a  'Country-Wedding'  orchestral  suite,  violin- 
quartets,  a  suite,  trio  and  sonata  for  violin  and 
piano,  an  organ-sonata,  the  piano-suite  'In 
Imagery,'  and  a  book  of  songs.  Some  of 
his  works  have  been  given  by  symphony- 
orchestras  in  Chicago,  Atlanta,  Leipzig  and 
Prague,  by  the  Sittig  Trio  in  New  York, 
etc.     [  R.9  ] 

WINCHELL,  JAMES  MANNING  (1791- 
1820).     See  Tune-Books,  1819. 

WINCHESTER,  AMASA.     See  Register,  3. 

WINGATE,  RAY  W.  See  Colleges,  3 
(Alfred  U.,  N.Y.). 

WINKLER,  EMIL  KARL  (b.  1860).  See 
Colleges,  2  (Wells  C,  N.  Y.). 

WINKLER,  J.  A.  E.  See  Colleges,  2 
(Hollins  C,  Va.). 

WISE,  JOHN  J.     See  Register,  3. 

WISKE,  C.  MORTIMER  (b.  1853).  See 
Register,  7. 

WITEK,  ANTON  (Jan.  7,  1872,  Saaz, 
Austria),  in  1883-89  was  a  pupil  of  Bennewitz 
at  the  Prague  Conservatory.  In  1894  he 
became  concertmaster  of  the  Philharmonic 
Orchestra  in  Berlin,  and  also  began  tours 
with  the  Danish  pianist  Vita  Gerhardt  (whom 
he  later  married).  In  1903,  with  her  and 
Joseph  Malkin,  he  formed  the  Philharmonic 
Trio.  In  1905  he  made  a  sensation  by  playing 
in  one  evening  concertos  by  Beethoven,  Pa- 
ganini  and  Brahms,  in  1907  brought  out 
in  Berlin  the  newly-discovered  concerto  in 
A  by  Mozart,  and  in  1909  also  the  long-lost 
concerto  in  C  by  Haydn.  In  1910  he  became 
concertmaster  of  the  Boston  Symphony 
Orchestra,  making  his  first  appearance  as 
soloist  on  Oct.  29  with  the  Beethoven  concerto. 


witherspoon 


WOLLE 


407 


In  1914,  when  Malkin  also  joined  the  or- 
chestra, the  former  trio-group  was  revived 
as  the  Witek-Malkin  Trio.  In  1918  he  re- 
signed from  the  Orchestra.     [  R.IO  ] 

WITHERSPOON,  HERBERT  (b.  1873). 
See  Register,  8. 

WODELL,  FREDERICK  WILLIAM  (Dec. 
17,  1859,  London,  England),  gained  his  gen- 
eral education  in  public  schools  in  England 
and  the  United  States,  studying  piano  with 
E.  T.  Manning,  Ferdinand  Dewey  and  Ada 
P.  Emery,  voice  chiefly  with  F.  W.  Root  and 
Shakespeare,  and  composition  with  Manning 
and  Norris.  He  has  had  wide  experience  as 
singer,  and  for  many  years  conducted  the 
People's  Choral  Union  in  Boston  (400  voices), 
giving  two  oratorio-concerts  annually.  He 
has  made  a  specialty  of  teaching  singing  to 
classes  of  both  adults  and  children,  and  has 
often  lectured  upon  the  methods  used.  He 
has  published  Choir  and  Chorus  Conducting, 
1908  (new  ed.,  1919),  and  How  to  Sing  by  Note, 
1915.  He  has  also  written  a  two-act  light 
opera,  'The  Court  of  Love'  (1912,  Boston)  ; 
the  cantata  'The  Gift  of  Love,'  from  'Endym- 
ion,'  for  soprano  and  women's  chorus  (1919, 
Brookline)  ;  the  cantata  'The  American 
Flag,'  for  tenor,  baritone,  men's  chorus  and 
piano  or  orchestra  (1915,  Boston)  (Thompson)  ; 
and  many  anthems,  part-songs  and  songs 
(various  publishers).     [  R.7  ] 

t  WOLF-FERRARI,  ERMANNO  (Jan.  12, 
1876,  Venice,  Italy).  See  article  in  Vol.  v. 
558.  The  list  of  works  should  be  extended 
as  follows : 

Operas:    '1  Quattro  Rusteghi'   (1906,  Munich,  in 
German). 

'I    Giojelli    della    Madonna'    (1911,    Berlin,    in 
Germein,   1912,  Chicago,  in   Italian). 

'L'Amore  Medico'   (1913,  Dresden,  in  German, 
1914,   New  York,   in   Italian). 
Mystery,    'Talitta    Cumi,'    or    'Die    Tochter    des 

Jairus,'  op.  3,  for  soli,  chorus  and  orchestra. 
Sonata  in  G  minor,  op.  1,  for  violin. 
Piano-Trio  in  D,  op.  5. 
Piano-Quintet  in  D-flat,  op.  6. 
Piano-Trio  in  F-sharp,  op.  7. 
'Kammersymphonie'  in  B-flat,  op.  8. 
Sonata  in  A  minor,  op.  10,  for  violin. 
'Rispetti,'  opp.  11-12. 
Impromptus  for  piano,  op.  13. 
Three  Piano-Pieces,  op.  14. 

His  dramatic  works  have  been  brought  out 
in  Germany  because  of  his  inability  to  agree 
with  the  Italian  house  that  controls  publication 
in  Italy.  When  he  came  to  America  in  1912 
to  superintend  the  production  of  'I  Giojelli 
della  Madonna'  he  had  never  heard  any  of  his 
works  given  in  Italian.  His  name  unites  those 
of  his  German  father,  the  distinguished  painter 
August  Wolf,  and  of  his  Itahan  mother. 

WOLFF,  A.    See  Register,  2. 

WOLFSOHN,  CARL  (Dec.  14,  1834,  Alzey. 
Germany     :     1907,   N.   J.),   was 'a  pupil   of 


Aloys  Schmitt  at  Frankfort,  where  he  made 
his  d6but  as  pianist  in  1848.  He  then  studied 
with  Lachner,  made  concert-tours  and  lived 
for  two  years  in  London  before  coming  to 
America  in  1854.  He  located  in  Philadelphia 
as  pianist,  orchestral  conductor  and  teacher, 
and  for  about  twenty  years  gave  series  of 
chamber-music  concerts.  In  1863  he  under- 
took recitals  embodying  the  entire  series  of 
Beethoven  sonatas,  which  were  given  twice 
in  Philadelphia  and  twice  in  New  York  with 
notable  success.  Later  he  presented  the 
complete  piano-works  of  Schumann  and  of 
Chopin  in  similar  series  of  recitals.  In  1873 
he  moved  to  Chicago,  and  to  his  other  activities 
added  the  direction  of  the  Beethoven  Society, 
a  choral  organization.  He  was  widely  known 
as  a  teacher  of  piano,  was  one  of  the  early 
champions  of  Wagner  in  America,  and  did 
much  to  raise  the  standards  of  chamber- 
music  both  in  Philadelphia  and  in  Chicago. 
Among  his  many  pupils  Mme.  Bloomfield- 
Zeisler  is  perhaps  the  most  widely  known. 
[  R.4  ] 

WOLLE.  JOHN  FREDERICK  (Apr.  4, 
1863,  Bethlehem,  Pa.),  comes  of  a  long  line 
of  musical  ancestors  and  had  his  first  lessons 
from  a  sister  and  a  cousin.  In  1879  he  gradu- 
ated at  the  Moravian  Parochial  School,  having 
specialized  in  music,  and  began  teaching  in 
Bethlehem.  In  1881-84  he  was  organist  at 
Trinity  Church  there  and  had  organ-lessons 
from  Wood  in  Philadelphia.  In  1884-85 
he  studied  with  Rheinberger  in  Munich, 
returning  to  be  organist  for  twenty  years  at 
the  Moravian  Church.  Before  going  to 
Germany  he  had  organized  choral  societies 
in  Bethlehem  and  Easton,  and  the  former, 
after  giving  standard  oratorios,  he  led  to 
concentrate  upon  Bach's  music.  With  it 
in  1888  he  gave  the  first  complete  rendering 
in  America  of  the  St.  John  Passion,  and  in 
1892  he  gave  also  the  St.  Matthew  Passion. 
After  a  period  of  inactivity,  in  1898  work  was 
resumed,  and  in  1900  the  B  minor  Mass  was 
given.  In  1887-1905  ho  was  organist  at  the 
Packer  Memorial  Church  at  Lehigh  University. 
In  1904  the  Moravian  College  made  him  Mus. 
D.  (also  the  University  of  Pennsylvania  in 
1919).  In  1905-11  he  was  professor  at  the 
University  of  California,  where  he  organized 
a  chorus  of  300,  conducted  symphony-concerts 
and  directed  performances  of  Greek  dramas. 
Besides  being  in  1907-09  organist  at  the  First 
Congregational  Church  in  Berkeley,  he 
assembled  a  Bach  Choir  of  125,  which  gave 
the  St.  Matthew  Passion  and  the  Mass  in 
1909-10.  Returning  to  Bethlehem  in  1911, 
he  resumed  the  notable  administration  of  the 
Bach  Choir  (see  article),  was  organist  at  the 
Salem  Lutheran  Church  and  conducted 
choral    societies    in    Harrisburg,    York    and 


408 


WOLLENHAUPT 


WYETH 


Lancaster.  He  was  a  founder  of  the  A.  G.  O., 
and  has  appeared  as  soloist  not  only  at  the 
Chicago  and  the  St.  Louis  Expositions,  but 
often  elsewhere.  He  has  made  organ-tran- 
scriptions from  Bach  and  Wagner  and  com- 
posed for  chorus  and  orchestra,  but  of  his 
original  works  none  are  published.  See 
Walters,  Bethlehem  Bach  Choir,  1918.     [  R.7  ] 

WOLLENHAUPT,  HERMANN  ADOLF 
(1827-1863).     See  Register,  4. 

WOOD,  ABRAHAM  (1752-1804).  See 
Tune-Books,  1793. 

WOOD,  CARL  PAIGE  (b.  1885).  See 
Register,  9. 

WOOD,  DAVID  DUFFIELD  (Mar.  2, 
1838,  near  Pittsburgh  :  Mar.  27,  1910, 
Philadelphia),  lost  his  sight  by  accident  in 
childhood  and  at  five  went  to  the  Philadelphia 
School  for  the  Blind,  where  he  was  an  apt 
pupil  in  music  and  mathematics.  In  1853 
he  became  assistant-teacher  in  music  and  in 
1887  director.  He  there  conducted  remark- 
ably successful  performances  of  standard  ora- 
torios and  of  Bach  cantatas.  In  1864  he 
became  organist  at  St.  Stephen's,  remaining 
exactly  46  years  (last  service  two  days  before 
his  death).  For  about  25  years  he  also 
played  at  the  evening  services  at  the  Baptist 
Temple,  where  he  often  brought  out  oratorios. 
He  was  a  superior  player  and  one  of  the  first 
to  specialize  in  Bach  in  America.  Many  of 
his  pupils  became  prominent.  His  com- 
positions were  mostly  for  the  church  and  were 
sung  at  St.  Stephen's  from  manuscript.  In 
1911  the  H.  W.  Gray  Co.  began  publishing 
a  series  of  his  anthems.     [  R.4  ] 

JWOOD,  HENRY  JOSEPH  (Mar.  3, 
1870,  London,  England).  See  article  in  Vol. 
V.  560-1.  He  visited  America  in  1904.  In 
1911  he  was  knighted.  In  1918  the  conductor- 
ship  of  the  Boston  Symphony  Orchestra,  in 
succession  to  Muck,  was  offered  him,  but  was 
declined. 

WOOD,  MARY,  n6e  Knight  (b.  1859).  See 
Register,  7. 

WOOD,  MARY  ANNE,  nee  Paton  (1802- 
1864).     See  Vol.  iii.  653-4,  and  Register,  3. 

WOOD,  WILLIAM  L.  See  Colleges,  3 
(Hobart  C,  N.  Y.). 

WOODBURY,  ISAAC  BAKER  (1819- 
1858).     See  Tune-Books,  1839. 

WOODMAN,  JONATHAN  CALL  (1813- 
1894).     See  Register,  4. 

WOODMAN,  RAYMOND  HUNTING- 
TON (Jan.  18,  1861,  Brooklyn),  was  the  son 
and  pupil  of  J.  C.  Woodman.  In  1881-85 
he  also  studied  composition  and  orchestration 
under  Buck  and  later  organ  under  Franck 
in  Paris.  In  1880,  after  a  year  with  a  church 
in  Norwich,  Conn.,  he  became  organist  at  the 


First  Presbyterian  Church  in  BrookljTi, 
where  he  has  recently  celebrated  his  fortieth 
anniversary.  He  has  also  taught  at  Packer 
Institute  and  the  Master  School  of  Music. 
In  1894-97  he  edited  a  church-music  depart- 
ment for  the  New  York  'Evangelist.'  He 
is  a  founder  and  fellow  of  the  A.  G.  O.,  and 
has  done  much  brilliant  recital-work.  He  is 
also  fellow  of  the  Brooklyn  Institute  of  Arts 
and  Sciences,  and  head  of  its  music-section. 
His  published  songs,  anthems,  cantatas  and 
pieces  for  organ  or  piano  number  about  125. 
Of  unpublished  works  the  more  important 
are  an  'Ode  to  Music,'  for  baritone,  chorus  and 
orchestra,  a  'Reverie'  for  string-orchestra, 
harp  and  organ,  and  a  four-movement  organ- 
suite.     [  R.6  ] 

WOODRUFF,  MERIT  N.  See  Tune- 
Books,  1800. 

WOODWARD,  CHARLES.  See  Tune- 
Books,  1800. 

WOOLF,  BENJAMIN  EDWARD  (1836- 
1901).     See  Register,  5. 

WOOLLS,  STEPHEN  (d.  1799).  See  Reg- 
ister, 1. 

WORCESTER,  SAMUEL  (1770-1821).  See 
Tune-Books,  1815. 

WORCESTER  MUSICAL  FESTIVALS. 
See  article  in  Vol.  v.  562-3.  The  series  has 
continued  without  break  except  in  1918,  when 
the  festival  was  canceled  on  account  of  the 
influenza  epidemic.  The  chief  conductor 
until  1919  was  Mees,  assisted  in  1909-1915 
by  Gustav  Strube.  The  new  conductor  is 
Nelson  P.  Coffin.  The  major  works  to  be 
added  to  the  list  are  Liszt's  Missa  Solemnis 
(1909),  Bantock's  'Omar  Khayyam'  (1910), 
Reger's  'The  Nuns'  (1911),  Georg  Schumann's 
'Ruth'  (1912),  Pierne's  'St.  Francis  of  Assisi' 
(1913),  Wolf-Ferrari's  'La  Vita  Nuova'  (1914), 
Beethoven's  Choral  Fantasia  (1915),  Parker's 
'  Red  Cross  Hymn,'  Grainger's  '  Marching-Song 
of  Democracy'  and  Hadley's  'Ode  to  Music' 
(all  1917).  In  1919  a  program  of  works  by  a 
variety  of  American  composers  was  presented. 

WORK,  HENRY  CLAY  (1832-1884).  See 
Register,  4. 

WORLEY,  CHANDLER.  See  State  Uni- 
versities (Miss.). 

WRANGELL.  LUDWIG  HEINRICH  (b. 
1872).     See  Register,  9. 

WRIGHT,  D.     See  Tune-Books,  1798. 

WRIGHT,  WILLIAM  LYNDON.  See 
Colleges,  3  (New  York  U.) 

WRIGHTSON,  HERBERT  JAMES  (b. 
1869).     See  Register,  8. 

WRIGHTSON,  SYDNEY  LLOYD  (b. 
1869).     See  Register,  7. 

WYETH,  JOHN  (1770-1858).  See  Tune- 
BooKS,  1810. 


•  YANKEE  DOODLE.'  See  article  in  Vol. 
V.  574-7,  and  the  exhaustive  study  in  Son- 
neck,  Report  on  '  The  Star-Spangled  Banner,' 
'Hail,  Columbia,'  'America'  and  'Yankee 
Doodle,'  1909. 

YARNOLD,  BENJAMIN.  See  Regis- 
ter, 1. 

YON,  PIETRO  ALESSANDRO  (Aug.  8, 
1886,  Settimo  Vittone,  Italy),  after  study  as  a 
child  with  Burbatti,  the  cathedral-organist  at 
Ivrea,  entered  the  Milan  Conservatory  as  pupil 
of  Fumagalli.  He  won  a  scholarship  for  pianists 
at  the  Turin  Conservatory  in  1901,  and  spent 
three  years  there  under  Venezia  (piano), 
Remondi  (organ)  and  Bolzoni  (composition). 
In  1904  he  went  to  the  Academy  of  St. 
Cecilia  in  Rome,  where  his  teachers  were 
Renzi  (organ),  Bustini  and  Sgambati  (piano), 
and  De  Sanctis  (theory).  He  graduated  in 
1905  with  honors  in  each  department,  the 
first  prize-medal  of  the  Academy  and  a 
special  medal  from  the  Italian  Minister  of 
Public  Instruction.  For  two  years  he  was 
substitute-organist  at  the  Vatican  and  the 
Royal  Church  of  Rome.  In  1907  he  became 
organist  at  St.  Francis  Xavier's  in  New  York. 
There  and  through  extensive  tours  as  virtuoso 
he  has  earned  a  great  and  well-deserved 
reputation.  Among  his  many  works  (Ricordi, 
J.  Fischer,  Schirmer)  are  the  following : 

Sonata  No.  1,  for  organ. 

'Sonata  Cromatica,'  for  organ. 

Toccata  for  organ. 

Two  Concert-Studies  for  organ. 

'Christmas     in     Sicily,'      'Pastorale    Sorrentina,' 

'Elegia,'  'Gesd  Bambino,'  all  for  organ. 
Ten  Divertimenti  for  organ. 
Six  Masses  and  about  ten  Motets. 
Several  piano-pieces  and  songs.  [  R.9   ] 

YORK,  FRANCIS  LODOWICK  (Mar.  9, 
1861,  Ontonagon,  Mich.),  had  his  general 
education  in  the  Ann  Arbor  High  School  and 
the  University  of  Michigan,  graduating  in 
1882.     While    there    he    studied    with    Cady, 


and  later  continued  in  Detroit  with  Batchelder 
and  in  Paris  with  Guilmant  (1892,  '98).  From 
1888  he  has  been  advocate  of  school-credits 
for  music,  first  at  Ann  Arbor  and  lately  in 
Detroit.  In  1892-96  he  taught  at  the  Uni- 
versity School  of  Music  in  Ann  Arbor,  and  in 
1896-1902  at  the  State  Normal  School  in 
Ypsilanti.  Since  1902  he  has  been  the  ex- 
ceedingly efficient  head  of  the  Detroit  Con- 
servatory and  organist  at  the  Central 
Methodist  Church.  He  has  always  been  a 
strong  supporter  of  American  music,  especially 
interested  in  the  works  of  MacDowell.  He 
was  organ-recitalist  at  the  Buffalo  and  St. 
Louis  Expositions  of  1901  and  1904,  and  has 
played  often  elsewhere.  His  'Spring-Song' 
for  organ,  several  transcriptions  and  some 
church-music  have  been  published  (Schirmer). 
A  comic  opera,  'The  Inca'  and  further  organ- 
pieces  are  in  manuscript.  He  has  also  written 
Harmony  Simplified,  5th  ed.,  1900,  and 
Counterpoint  Simplified,  1907.  In  1905  he 
prepared  for  the  French  government  a  report 
upon  American  music-schools.  He  is  one  of 
the  editors  of  the  Schirmer  Library,  and  has 
written  many  articles  for  periodicals.  He 
has  always  been  prominent  in  the  M.  T.  N.  A. 
and  in  the  Michigan  Association.     [  R.8  ] 

YOUNG,  HELEN  F.  See  Colleges,  2 
(Sweet  Briar  C,  Va.). 

YOUNG,  WILLIAM.  See  Register,  2,  and 
TuNE-BooKS,  1790. 

YOUNG  PEOPLE'S  SYMPHONY  CON- 
CERTS.    See  Vol.  iv,  805. 

YSAYE,  EUGENE  (July  16,  1858,  Lifege, 
Belgium).  See  article  in  Vol.  v.  580-2.  In 
1898  he  declined  an  invitation  to  succeed 
Seidl  as  conductor  of  the  New  York  Phil- 
harmonic Society.  In  1918,  as  guest-con- 
ductor, he  directed  the  Cincinnati  Festival 
and  other  concerts,  and  was  later  appointed 
permanent  conductor  of  the  Symphony  Orches- 
tra.    [  R.IO  ] 


409 


z 


ZACH,  MAX  WILHELM  (b.  1864).  See 
Register,  7. 

ZAHM,  JOHN  AUGUSTINE  (b.  1851). 
See  Register,  8. 

ZAY,  WILLIAM  HENRI  (b.  1869).  See 
Register,  8. 

ZBINDEN,  THEODORE  (b.  1877).  See 
Register,  10. 

ZECH,  FREDERICK  (May  10,  1858, 
Philadelphia),  began  piano-study  in  San 
Francisco  with  Heckmanns  and  Schumacher, 
continuing  in  1877-82  in  Leipzig  with  KuUak, 
Breslaur  and  Neumann  (composition).  He 
also  taught  for  two  years  in  Kullak's  Academy. 
Since  1882  he  has  Ijeen  teacher  of  advanced 
piano-pupUs  in  San  Francisco,  at  intervals 
also  conducting  symphony-concerts.  He  has 
written  the  operas  '  La  Paloma '  and  '  Wakin- 
yon';  symphonies  in  B  minor,  C  minor, 
F  minor  and  C ;  the  symphonic  poems  '  The 
Eve  of  St.  Agnes'  (1898),  'Lamia'  (1902), 
'The  Raven'  (1902)  and  'The  Wreck  of  the 
Hesperus '  (1909) ;  four  piano-concertos ;  a 
violin-concerto ;  a  'cello-concerto ;  a  piano- 
quintet  ;  two  string-quartets ;  a  piano-trio ; 
three  violin-sonatas ;  a  flute-sonata ;  and  two 
clarinet-sonatas.  All  those  for  orchestra  have 
been  given  in  San  Francisco,  and  the  first  two 
symphonic  poems  also  in  Germany.     [  R.7  ] 

ZECKWER,  CAMILLE  (June  26,  1875, 
Philadelphia),  the  son  of  Richard  Zeckwer  (see 
below),  was  trained  in  the  Philadelphia  Musical 
Academy,  graduating  in  189.3.  He  further 
studied  composition  with  Dvordk  in  New  York 
in  1893-95  and  with  Ph.  Scharwenka  in 
Berlin,  where  he  also  took  violin  with  Zajic. 
He  soon  engaged  in  teaching  in  the  Philadelphia 
Academy,  of  which  he  is  now  director  with 
Frederick  E.  Hahn.  Besides  being  a  pianist 
of  fine  ability,  he  has  given  much  attention 
to  composition.  His  works  include  the 
symphonic  poem  'Sohrab  and  Rustum,'  op. 
30  (1915,  Philadelphia  Orchestra);  a  piano- 
concerto  in  E  minor,  op.  8  (1899,  Philadelphia 
Orchestra,  also  1904,  '14)  ;  the  cantata  'The 
New  Day,'  op.  24  (Cleveland  Mendelssohn 
Club  prize,  1914);  the  three-act  opera  'Jane 
and  Janetta,'  op.  20 ;  a  suite  for  violin  and 
piano,  op.  1 ;  a  '  Swedish  Fantasy,'  op.  6, 
for  violin  and  orchestra ;  a  piano-trio,  op.  3 ; 
a  string-quartet,  op.  4 ;  a  piano-quartet,  op. 
9 ;  a  piano-quintet  in  E  minor,  op.  5 ;  two 
violin-sonatas,  opp.  2,  7 ;  a  '  Serenade  Melan- 
colique,'  op.  27,  for  violin,  'cello  and  piano ; 
and  various  piano-pieces,  songs  and  choruses 
[  R.8  ] 

ZECKWER,  RICHARD  (Apr.  30,  1850, 
Stendal,  Germany),  was  educated  at  the 
Stendal  Gymnasium,   Leipzig  University  and 


Leipzig  Conservatory,  his  music-masters  being 
Papperitz,  Richter,  Reinecke,  Paul  and 
Hauptmann.  In  1869  he  came  to  Philadel- 
phia, making  his  first  appearance  as  pianist 
at  the  Academy  of  Music  on  Dec.  1.  A  few 
months  later  he  began  to  teach  at  the  Phila- 
delphia Musical  Academy,  recently  opened. 
In  1876  he  became  its  director  and  continued 
over  forty  years  in  fruitful  service,  resigning 
in  1917,  when  the  Academy  was  merged  with 
the  Hahn  Conservatory.  In  1870-77  he  was 
organist  at  St.  Vincent  de  Paul  (R.  C.)  Church 
in  Germantown,  and  of  the  Philadelphia 
Cathedral  in  1877-80.  He  has  lectured  on 
acoustics  at  the  Franklin  Institute  and  the 
Academy  of  Natural  Science,  and  has  pub- 
lished the  pamphlet  A  Scientific  Investigation 
of  Legato-Touch,  1902,  the  result  of  original 
investigations.  He  has  written  two  over- 
tures, 'The  Bride  of  Messina'  and  'Festival,' 
a  string-quartet,  a  violin-sonata,  four  piano- 
sonatas,  many  songs  and  piano-pieces  (Ditson, 
Pressor).     [  R.6  ] 

ZEISLER,  FANNIE,  nee  Bloomfield  (July 
16,  1863,  Bielitz,  Austria).  See  article  in 
Vol.  i.  341.  The  birth -year  is  correct  as  here 
given.  She  is  a  cousin  of  the  pianist  Moritz 
Rosenthal  and  a  sister  of  Maurice  Bloomfield, 
professor  of  Sanscrit  at  Johns  Hopkins  Uni- 
versity. In  recent  years  she  has  been  kept 
back  from  great  activity  by  ill-health,  but  is 
now  resuming  concert-work  as  of  old.       [  R.6  ] 

'ZENOBIA.'  An  opera  in  four  acts  by 
Silas  G.  Pratt,  produced  in  concert-form  in 
Chicago  in  1882  and  on  the  stage  in  March, 
1883.  The  libretto,  by  the  composer,  is  based 
upon  a  romance  of  William  Ware. 

Another  opera  on  the  same  subject,  in  three 
acts,  is  by  Louis  T^.dolphe  Coerne.  It  was 
several  times  given  in  Bremen  in  1905-06,  and 
instrumental  numbers  have  been  played  in 
America. 

ZERRAHN,  CARL  (July  28,  1826,  Mal- 
chow,  Germany  :  Dec.  29,  1909,  Milton, 
Mass.).  See  article  in  Vol.  v.  595.  His 
first  lessons,  at  twelve,  were  with  Friedrich 
Weber  in  Rostock,  and  later  he  studied  in 
Hanover  and  Berlin.  In  the  Germania 
Orchestra  he  played  first  flute,  thus  having 
part  in  the  important  influence  of  that  organ- 
ization. In  1855-63  he  conducted  one  of  the 
several  orchestras  in  Boston  known  by  the 
name  Philharmonic,  and  was  practically  the 
only  leader  of  the  concerts  of  the  Harvard 
Musical  Association  in  1865-82.  Besides 
his  work  as  conductor  of  the  Handel  and  Haydn 
Society  and  of  the  Worcester  Festivals,  he 
was  for  many  years  in  charge  of  the  Salem 
Oratorio  Society  and  other  smaller  organiza- 


LIO 


BERNHARD  ZIEHN 


ZEUCH 


ZUNDEL 


411 


tions.  At  the  second  Peace  Jubilee  (1872) 
he  led  the  chorus  of  20,000.  He  was  also  a 
teacher  of  singing,  harmony  and  composition 
at  the  New  England  Conservatory.  In  all 
these  ways  he  left  a  significant  impress  upon 
the  development  of  American  choral  music. 

[  R.4  ] 

ZEUCH,  WILLIAM  EDWARD  (b.  1878). 
See  Register,  9. 

ZEUNER,  CHARLES  [Heinrich  Christoph] 
(1795-1857).  See  Register,  3,  and  Tune- 
Books,  1832. 

ZIEGFELD,  FLORENZ  (b.  1841).  See 
Register,  5. 

ZIEGLER,  ANNA  ELIZABETH,  nee 
Koelling  (b.  1867).     See  Register,  7. 

ZIEHN,  BERNHARD  (Jan.  20, 1845,  Erfurt, 
Germany  :  Sept.  8,  1912,  Chicago),  was 
not  at  first  specially  trained  in  music.  He 
studied  at  the  teachers'  seminary  in  Erfurt 
and  taught  three  years  at  Mi'ihlhausen.  In 
1868-70  he  taught  higher  mathematics, 
German  and  music-theory  at  the  German 
Lutheran  School  in  Chicago.  After  1871 
he  concentrated  wholly  upon  the  investigation 
of  the  theory  of  music  and  the  teaching  of  it. 
This  led  to  a  series  of  monumental  books, 
including  System  der  Uehungen  fiir  Klavier- 
spieler,  1881,  Lehrgang  fiir  den  ersten  Kla- 
vierunterricht,  1881,  developing  the  idea  of 
'symmetrical  inversion'  of  material,  Harmo- 
nie-  und  Modulationslehre,  1888  (2nd  ed., 
1909,  in  Enghsh,  1907),  which  was  his  chief 
work,  Five-  and  Six-Part  Harmonies,  How  to 
Use  Them,  1911,  and  Canonical  Studies,  a  New 
Technic  of  Composition,  1912  (English  and 
German).  He  also  wrote  a  treatise  on  the 
execution  of  ornaments  in  classical  works 
(Hamburg,  1883),  contributed  an  elaborate 
discussion  of  the  ecclesiastical  modes  to  'Die 
Musik,'  and  wrote  many  other  articles  for 
German  periodicals.  An  article  on  poison- 
ivy  in  the  vicinity  of  Chicago  was  commended 
by  the  U.  S.  Department  of  Agriculture.  Two 
comments  on  his  Harmonielehre  may  be 
quoted ; 

(Hugo  Kaun)  In  this  book  '  one  finds  thousands  of 
illustrations  embracing  the  entire  literature  of 
music.  His  knowledge  in  this  respect  was  unique. 
But  aside  from  these  it  is  above  all  his  own  harmonic 
combinations  that  make  this  work  so  valuable.  He 
did  not  write  his  book  by  utilizing  existing  material ; 
he  himself  was  a  pathfinder.  In  all  the  modern 
works  there  is  scarcely  a  harmonic  combination  that 
he  did  not  point  out  as  early  as  1888.' 

(Busoni)  'Over  the  beautiful  lines  of  the  Gothic 


fugue  Ziehn  paints  in  the  colors  of  a  great  and  new 
harmony,  the  harmony  that  arises  from  the  appli- 
cation of  a  relentless  logic  to  the  problems  of  voice- 
leading,  that  achieves  absolute  independence  for 
each  voice,  yet  at  their  meeting-points  permits  most 
original  harmonies  to  develop.  He  is  a  theoretician 
who  points  to  the  possibilities  of  undiscovered 
lands  —  a  prophet  through  logic.  As  a  master  of 
harmony  he  stands  alone.' 

He  solved  the  uncompleted  last  work  of 
Bach,  a  fugue  of  which  Bach  gave  the  first, 
second  and  part  of  the  third  out  of  four  themes 
(see  Schweitzer,  Bach,  i.  424).  On  Ziehn's 
basis  Busoni  wrote  out  the  '  Fantasia  Contrap- 
puntistica'  as  a  series  of  seven  fugues,  of 
which  three  are  variations  of  others.  This 
was  for  piano,  and  Middelschulte  has  arranged 
it  for  organ,  and  he  and  Stock  also  made  an 
orchestral  transcription. 

Among  his  famous  pupils  may  be  named 
Mrs.  Zeisler,  Mrs.  Middelschulte,  Regina  Wat- 
son, Grace  Chadbourne  and  Eleanor  Freer, 
with  Kaun,  Carpenter,  Bradley,  Deis,  Arthur 
Dunham,  Gunn,  Otto  Wulf  and  Middel- 
schulte.    [  R.5  ] 

ZIELINSKI,  JAROSLAW  DE  (b.  1847), 
See  Register,  5. 

ZIMBALIST,  EFREM  (Apr.  9,  1889, 
Rostov-on-the-Don,  Russia).  See  article  in 
Vol.  V.  596.  His  Berlin  debut  was  in  1907, 
when  he  played  the  Brahms  concerto  with 
extraordinary  impression.  His  first  English 
appearance  the  same  year  was  followed  by 
immediate  engagements  under  Nikisch  and 
Richter.  Within  a  year  he  was  equally 
recognized  in  France  and  Russia.  He  was 
the  first  after  Joachim  to  appear  at  the  Ge- 
wandhaus  on  New  Year's  Day,  as  the  latter 
had  done  for  fifty  years.  He  first  came  to 
America  in  1911,  playing  the  Glazunov  A 
minor  concerto  with  the  Boston  Symphony 
Orchestra  on  Oct.  27.  This  visit  led  to 
permanent  settlement  and  to  numerous  later 
appearances  with  orchestra  and  in  recital. 
He  has  composed  a  set  of  'Slavonic  Dances' 
for  violin  and  orchestra,  a  'Suite  in  the  Old 
Style'  for  violin  and  piano,  and  songs.  In 
1914  he  married  the  soprano  Alma  Gluck. 
[  R.IO  ] 

ZIMMERMANN,  MATTHIAS.  See  Reg- 
ister, 1. 

ZOELLNER,  JOSEPH  (b.  1862).  See  Reg- 
ister, 7. 

ZUCCA,  MANA  (b.  1891).     See  Register,  9. 

ZUNDEL,  JOHN  (1815-1882).  See  Reg- 
ister, 4,  and  Tune-Books,  1855. 


The  names  in  the  foregoing  pages  that  fail  outside  the  American  field  are  as  follows :  — 


Arensky 

Balakirev 

Bantock 

Bath 

Bax 

Beecham 

Bell 

Bbrners 

BOITO 

B0RDE8 
B088I 

BODQHTON 
BOWEN 

Bridge,  J.  F. 
Bruch 
Buck,  P.  C. 
Carse 

CiLEA 

Coleridge-Taylor 

COWEN 

Cm 

Dale 

Davet 

Davies 

Debusst 

Delius 

Ddbois 

DUKAS 
DuNHILIi 

Eloar 

Enna 

Erlanger,  C 
Erlangeb,  F.  d' 
Expert 


Farjeon 
Faure 
Friskin 
Gardiner 

GiLSON 

Glazunov 

Gliere 

G008SEN8 

Granados 

Grechaninov 

Greene 

Grieg 

GuiLMANT 

Haberl 
Hahcourt,  d 
Harty 
Harwood 

HiNTON 

Holbrooke 

HOLLINS 

holst,  von 

Hubay 

Huber 

Hull 

hurlstonb 

Indy,  d' 

Ippolitov-Ivanov 

Ireland 

Joachim 

JUON 

Karg-Elert 

KasTAL8KY 

Klindworth 
K0NIU8 


Lavignac 
Lenepveu 
Leoncavallo 
Leroux 

LlADOV 

Liapunov 

MacCunn 

Mackenzie 

MacPherson 

Magnard 

Marteau 

Martin,  G.  C. 

Mascagni 

Massenet 

M'Ewen 

Melba 

Messager 

MoTTL 

Napravnik 

Newman 

O'Neill 

Parry 

Patti 

Pedrell 

Perosi 

Pfitzner 

Philipp 

Pitt 

Puccini 

Rabaud 

Ravel 

RiEMANN 
RiMSKY-KoRSAKOV 

Saint-Saens 


Santley 
Sapelnikov 
Sauret 
Schillings; 

SCHOLES 

Schweitzer 

Scott,  Cyril 

scriabin 

Sgambati 

Sharp 

S1BELIU8 

Smyth 

Squire 

Strauss 

Svendsen 

Tanieiev 

Terry 

Tetrazzini 

Thomson 

Tiersot 

TiNEL 
TOSTI 
TOVEY 

Van  Dyck 
Viardot-Garcia 

ViDAL 

Viekne 
Volbach 
Wallace 
Weingartnbr 

WiDOR 

Wolf-Ferrari 
Wood,  H.  J. 


Printed  in  the  United  States  of  America. 


412 


